The Sun DogA Note on 'The Sun Dog'
Every now and then someone will ask me, 'When are you going to get tired of this 
horror stuff, Steve, and write something serious?'
I used to believe the implied insult in this question was accidental, but as the 
years go by I have become more and more convinced that it is not. I watch the 
faces of the people who drop that particular dime, you see, and most of them 
look like bombardiers waiting to see if their last stick of bombs is going to 
fall wide or hit the targeted factory or munitions dump dead on.
The fact is, almost all of the stuff I have written - and that includes a lot of 
the funny stuff - was written in a serious frame of mind. I can remember very 
few occasions when I sat at the typewriter laughing uncontrollably over some 
wild and crazy bit of fluff I had just finished churning out. I'm never going to 
be Reynolds Price or Larry Woiwode - it isn't in me - but that doesn't mean I 
don't care as deeply about what I do. I have to do what I can do, however - as 
Nils Lofgren once put it, 'I gotta be my dirty self ... I won't play no jive.'
If real - meaning !!SOMETHING THAT COULD ACTUALLY HAPPEN!! - is your definition 
of serious, you are in the wrong place and you should by all means leave the 
building. But please remember as you go that I'm not the only one doing business 
at this particular site; Franz Kafka had an office here, and George Orwell, and 
Shirley Jackson, and Jorge Luis Borges, and Jonathan Swift, and Lewis Carroll. A 
glance at the directory in the lobby shows the present tenants include Thomas 
Berger, Ray Bradbury, Jonathan Carroll, Thomas Pynchon, Thomas Disch, Kurt 
Vonnegut, jr, Peter Straub, Joyce Carol Oates, Isaac Bashevis Singer, Katherine 
Dunn, and Mark Halpern.
I am doing what I do for the most serious reasons: love, money, and obsession. 
The tale of the irrational is the sanest way I know of expressing the world in 
which I live. These tales have served me as instruments of both metaphor and 
morality; they continue to offer the best window I know on the question of how 
we perceive things and the corollary question of how we do or do not behave on 
the basis of our perceptions. I have explored these questions as well as I can 
within the limits of my talent and intelligence. I am no one's National Book 
Award or Pulitzer Prize winner, but I'm serious, all right. If you don't believe 
anything else, believe this: when I take you by your hand and begin to talk, my 
friend, I believe every word I say.
A lot of the things I have to say - those Really Serious Things - have to do 
with the small-town world in which I was raised and where I still live. Stories 
and novels are scale models of what we laughingly call 'real life,' and I 
believe that lives as they are lived in small towns are scale models of what we 
laughingly call 'society.' This idea is certainly open to argument, and argument 
is perfectly fine (without it, a lot of literature teachers and critics would be 
looking for work); I'm just saying that a writer needs some sort of launching 
pad, and aside from the firm belief that a story may exist with honor for its 
own self, the idea of the small town as social and psychological microcosm is 
mine. I began experimenting with this sort of thing in Came, and continued on a 
more ambitious level with 'Salem's Lot. I never really hit my stride, however, 
until The Dead Zone.
That was, I think, the first of my Castle Rock stories (and Castle Rock is 
really just the town of Jerusalem's Lot without the vampires). In the years 
since it was written, Castle Rock has increasingly become 'my town,' in the 
sense that the mythical city of Isola is Ed McBain's town and the West Virginia 
village of Glory was Davis Grubb's town. I have been called back there time and 
time again to examine the lives of its residents and the geographies which seem 
to rule their lives - Castle Hill and Castle View, Castle Lake and the Town 
Roads which lie around it in a tangle at the western end of the town.
As the years passed, I became more and more interested in - almost entranced by 
- the secret life of this town, by the hidden relationships which seemed to come 
clearer and clearer to me. Much of this history remains either unwritten or 
unpublished:- how the late Sheriff George Bannerman lost his virginity in the 
back seat of his dead father's car, how Ophelia Todd's husband was killed by a 
walking windmill, how Deputy Andy Clutterbuck lost the index finger on his left 
hand (it was cut off in a fan and the family dog ate it).
Following The Dead Zone, which is partly the story of the psychotic Frank Dodd, 
I wrote a novella called 'The Body'; Cujo, the novel in which good old Sheriff 
Bannerman bit the dust; and a number of short stories and novelettes about the 
town (the best of them, at least in my mind, are 'Mrs Todd's Shortcut' and 
'Uncle Otto's Truck'). All of which is very well, but a state of entrancement 
with a fictional setting may not be the best thing in the world for a writer. It 
was for Faulkner and J. R. R. Tolkien, but sometimes a couple of exceptions just 
prove the rule, and besides, I don't play in that league.
So at some point I decided - first in my subconscious mind, I think, where all 
that Really Serious Work takes place - that the time had come to close the book 
on Castle Rock, Maine, where so many of my own favorite characters have lived 
and died. Enough, after all, is enough. Time to move on (maybe all the way next 
door to Harlow, ha-ha). But I didn't just want to walk away; I wanted to finish 
things, and do it with a bang.
Little by little I began to grasp how that could be done, and over the last four 
years or so I have been engaged in writing a Castle Rock Trilogy, if you please 
-the last Castle Rock stories. They were not written in order (I sometimes think 
'out of order' is the story of my life), but now they are written, and they are 
serious enough ... but I hope that doesn't mean that they are sober-sided or 
boring.
The first of these stories, The Dark Half, was published in 1989. While it is 
primarily the story of Thad Beaumont and is in large part set in a town called 
Ludlow (the town where the Creeds lived in Pet Sematary), the town of Castle 
Rock figures in the tale, and the book serves to introduce Sheriff Bannerman's 
replacement, a fellow named Alan Pangborn. Sheriff Pangborn is at the center of 
the last story in this sequence, a long novel called Needful Things, which is 
scheduled to be published next year and will conclude my doings with what local 
people call The Rock.
The connective tissue between these longer works is the story which follows. You 
will meet few if any of Castle Rock's larger figures in 'The Sun Dog,' but it 
will serve to introduce you to Pop Merrill, whose nephew is town bad boy (and 
Gordie LaChance's bete noire in 'The Body') Ace Merrill. 'The Sun Dog' also sets 
the stage for the final fireworks display ... and, I hope, exists as a 
satisfying story on its own, one that can be read with pleasure even if you 
don't give a hang about The Dark Half or Needful Things.
One other thing needs to be said: every story has its own secret life, quite 
separate from its setting, and 'The Sun Dog' is a story about cameras and 
photographs. About five years ago, my wife, Tabitha, became interested in 
photography, discovered she was good at it, and began to pursue it in a serious 
way, through study, experiment, and practice-practice-practice. I myself take 
bad photos (I'm one of those guys who always manage to cut off my subjects' 
heads, get pictures of them with their mouths hanging open, or both), but I have 
a great deal of respect for those who take good ones ... and the whole process 
fascinates me.
In the course of her experiments, my wife got a Polaroid camera, a simple one 
accessible even to a doofus like me. I became fascinated with this camera. I had 
seen and used Polaroids before, of course, but I had never really thought about 
them much, nor had I ever looked closely at the images these cameras produce. 
The more I thought about them, the stranger they seemed. They are, after all, 
not just images but moments of time ... and there is something so peculiar about 
them.
This story came almost all at once one night in the summer of 1987, but the 
thinking which made it possible went on for almost a year. And that's enough out 
of me, I think. It's been great to be with all of you again, but that doesn't 
mean I'm letting you go home just yet.
I think we have a birthday party to attend in the little town of Castle Rock.
CHAPTER 1
September 15th was Kevin's birthday, and he got exactly what he wanted: a Sun.
The Kevin in question was Kevin Delevan, the birthday was his fifteenth, and the 
Sun was a Sun 660, a Polaroid camera which does everything for the novice 
photographer except make bologna sandwiches.
There were other gifts, of course; his sister, Meg, gave him a pair of mittens 
she had knitted herself, there was ten dollars from his grandmother in Des 
Moines, and his Aunt Hilda sent - as she always did - a string tie with a 
horrible clasp. She had sent the first of these when Kevin was three, which 
meant he already had twelve unused string ties with horrible clasps in a drawer 
of his bureau, to which this would be added - lucky thirteen. He had never worn 
any of them but was not allowed to throw them away. Aunt Hilda lived in 
Portland. She had never come to one of Kevin's or Meg's birthday parties, but 
she might decide to do just that one of these years. God knew she could; 
Portland was only fifty miles south of Castle Rock. And suppose she did come ... 
and asked to see Kevin in one of his other ties (or Meg in one of her other 
scarves, for that matter)? With some relatives, an excuse might do. Aunt Hilda, 
however, was different. Aunt Hilda presented a certain golden possibility at a 
point where two essential facts about her crossed: she was Rich, and she was 
Old.
Someday, Kevin's Mom was convinced, she might DO SOMETHING for Kevin and Meg. It 
was understood that the SOMETHING would probably come after Aunt Hilda finally 
kicked it, in the form of a clause in her will. In the meantime, it was thought 
wise to keep the horrible string ties and the equally horrible scarves. So this 
thirteenth string tie (on the clasp of which was a bird Kevin thought was a 
woodpecker) would join the others, and Kevin would write Aunt Hilda a thank-you 
note, not because his mother would insist on it and not because he thought or 
even cared that Aunt Hilda might DO SOMETHING for him and his kid sister 
someday, but because he was a generally thoughtful boy with good habits and no 
real vices.
He thanked his family for all his gifts (his mother and father had, of course, 
supplied a number of lesser ones, although the Polaroid was clearly the 
centerpiece, and they were delighted with his delight), not forgetting to give 
Meg a kiss (she giggled and pretended to rub it off but her own delight was 
equally clear) and to tell her he was sure the mittens would come in handy on 
the ski team this winter - but most of his attention was reserved for the 
Polaroid box, and the extra film packs which had come with it.
He was a good sport about the birthday cake and the ice cream, although it was 
clear he was itching to get at the camera and try it out. And as soon as he 
decently could, he did.
That was when the trouble started.
He read the instruction booklet as thoroughly as his eagerness to begin would 
allow, then loaded the camera while the family watched with anticipation and 
unacknowledged dread (for some reason, the gifts which seem the most wanted are 
the ones which so often don't work). There was a little collective sigh - more 
puff than gust - when the camera obediently spat out the cardboard square on top 
of the film packet, just as the instruction booklet had promised it would.
There were two small dots, one red and one green, separated by a zig-zag 
lightning-bolt on the housing of the camera. When Kevin loaded the camera, the 
red light came on. It stayed on for a couple of seconds. The family watched in 
silent fascination as the Sun 660 sniffed for light. Then the red light went out 
and the green light began to blink rapidly.
'It's ready,' Kevin said, in the same 
straining-to-be-offhand-but-not-quite-making-it tone with which Neil Armstrong 
had reported his first step upon the surface of Luna. 'Why don't all you guys 
stand together?'
'I hate having my picture taken!' Meg cried, covering her face with the 
theatrical anxiety and pleasure which only sub-teenage girls and really bad 
actresses can manage.
'Come on, Meg,' Mr Delevan said.
'Don't be a goose, Meg,' Mrs Delevan said.
Meg dropped her hands (and her objections), and the three of them stood at the 
end of the table with the diminished birthday cake in the foreground.
Kevin looked through the viewfinder. 'Squeeze a little closer to Meg, Mom,' he 
said, motioning with his left hand. 'You too, Dad.' This time he motioned with 
his right.
'You're squishing me!' Meg said to her parents.
Kevin put his finger on the button which would fire the camera, then remembered 
a briefly glimpsed note in the instructions about how easy it was to cut off 
your subjects' heads in a photograph. Off with their heads, he thought, and it 
should have been funny, but for some reason he felt a little tingle at the base 
of his spine, gone and forgotten almost before it was noticed. He raised the 
camera a little. There. They were all in the frame. Good.
'Okay!' he sang. 'Smile and say Intercourse!'
'Kevin!' his mother cried out.
His father burst out laughing, and Meg screeched the sort of mad laughter not 
even bad actresses often essay; girls between the ages of ten and twelve own 
sole title to that particular laugh.
Kevin pushed the button.
The flashbulb, powered by the battery in the film pack, washed the room in a 
moment of righteous white light.
It's mine, Kevin thought, and it should have been the surpassing moment of his 
fifteenth birthday. Instead, the thought brought back that odd little tingle. It 
was more noticeable this time.
The camera made a noise, something between a squeal and a whirr, a sound just a 
little beyond description but familiar enough to most people, just the same: the 
sound of a Polaroid camera squirting out what may not be art but what is often 
serviceable and almost always provides instant gratification.
'Lemme see it!' Meg cried.
'Hold your horses, muffin,' Mr Delevan said. 'They take a little time to 
develop.'
Meg was staring at the stiff gray surface of what was not yet a photograph with 
the rapt attention of a woman gazing into a crystal ball.
The rest of the family gathered around, and there was that same feeling of 
anxiety which had attended the ceremony of Loading the Camera: still life of the 
American Family waiting to let out its breath.
Kevin felt a terrible tenseness stealing into his muscles, and this time there 
was no question of ignoring it. He could not explain it ... but it was there. He 
could not seem to take his eyes from that solid gray square within the white 
frame which would form the borders of the photograph.
'I think I see me!' Meg cried brightly. Then, a moment later: 'No. I guess I 
don't. I think I see -'
They watched in utter silence as the gray cleared, as the mists are reputed to 
do in a seer's crystal when the vibrations or feelings or whatever they are are 
right, and the picture became visible to them.
Mr Delevan was the first to break the silence.
'What is this?' he asked no one in particular. 'Some kind of joke?'
Kevin had absently put the camera down rather too close to the edge of the table 
in order to watch the picture develop. Meg saw what the picture was and took a 
single step away. The expression on her face was neither fright nor awe but just 
ordinary surprise. One of her hands came up as she turned toward her father. The 
rising hand struck the camera and knocked it off the table onto the floor. Mrs 
Delevan had been looking at the emerging picture in a kind of trance, the 
expression on her face either that of a woman who is deeply puzzled or who is 
feeling the onset of a migraine headache. The sound of the camera hitting the 
floor startled her. She uttered a little scream and recoiled. In doing this, she 
tripped over Meg's foot and lost her balance. Mr Delevan reached for her, 
propelling Meg, who was still between them, forward again, quite forcefully. Mr 
Delevan not only caught his wife, but did so with some grace; for a moment they 
would have made a pretty picture indeed: Mom and Dad, showing they still know 
how to Cut A Rug, caught at the end of a spirited tango, she with one hand 
thrown up and her back deeply bowed, he bent over her in that ambiguous male 
posture which may be seen, when divorced from circumstance, as either solicitude 
or lust.
Meg was eleven, and less graceful. She went flying back toward the table and 
smacked into it with her stomach. The hit was hard enough to have injured her, 
but for the last year and a half she had been taking ballet lessons at the YWCA 
three afternoons a week. She did not dance with much grace, but she enjoyed 
ballet, and the dancing had fortunately toughened the muscles of her stomach 
enough for them to absorb the blow as efficiently as good shock absorbers absorb 
the pounding a road full of potholes can administer to a car. Still, there was a 
band of black and blue just above her hips the next day. These bruises took 
almost two weeks to first purple, then yellow, then fade ... like a Polaroid 
picture in reverse.
At the moment this Rube Goldberg accident happened, she didn't even feel it; she 
simply banged into the table and cried out. The table tipped. The birthday cake, 
which should have been in the foreground of Kevin's first picture with his new 
camera, slid off the table. Mrs Delevan didn't even have time to start her Meg, 
are you all right? before the remaining half of the cake fell on top of the Sun 
660 with a juicy splat! that sent frosting all over their shoes and the 
baseboard of the wall.
The viewfinder, heavily smeared with Dutch chocolate, peered out like a 
periscope. That was all.
Happy birthday, Kevin.
Kevin and Mr Delevan were sitting on the couch in the living room that evening 
when Mrs Delevan came in, waving two dog-eared sheets of paper which had been 
stapled together. Kevin and Mr Delevan both had open books in their laps (The 
Best and the Brightest for the father; ShootOut at Laredo for the son), but what 
they were mostly doing was staring at the Sun camera, which sat in disgrace on 
the coffee table amid a litter of Polaroid pictures. All the pictures appeared 
to show exactly the same thing.
Meg was sitting on the floor in front of them, using the VCR to watch a rented 
movie. Kevin wasn't sure which one it was, but there were a lot of people 
running around and screaming, so he guessed it was a horror picture. Megan had a 
passion for them. Both parents considered this a low taste (Mr Delevan in 
particular was often outraged by what he called 'that useless junk'), but 
tonight neither of them had said a word. Kevin guessed they were just grateful 
she had quit complaining about her bruised stomach and wondering aloud what the 
exact symptoms of a ruptured spleen might be.
'Here they are,' Mrs Delevan said. 'I found them at the bottom of my purse the 
second time through.' She handed the papers - a sales slip from J. C. Penney's 
and a MasterCard receipt - to her husband. 'I can never find anything like this 
the first time. I don't think anyone can. It's like a law of nature.'
She surveyed her husband and son, hands on her hips.
'You two look like someone just killed the family cat.'
'We don't have a cat,' Kevin said.
'Well, you know what I mean. It's a shame, of course, but we'll get it sorted 
out in no time. Penney's will be happy to exchange it -'
'I'm not so sure of that,' John Delevan said. He picked up the camera, looked at 
it with distaste (almost sneered at it, in fact), and then set it down again. 
'It got chipped when it hit the floor. See?'
Mrs Delevan took only a cursory glance. 'Well, if Penney's won't, I'm positive 
that the Polaroid company will. I mean, the fall obviously didn't cause whatever 
is wrong with it. The first picture looked just like all these, and Kevin took 
that one before Meg knocked it off the table.'
'I didn't mean to,' Meg said without turning around. On the screen, a pint-sized 
figure - a malevolent doll named Chuckie, if Kevin had it right - was chasing a 
small boy. Chuckie was dressed in blue overalls and waving a knife.
'I know, dear. How's your stomach?'
'Hurts,' Meg said. 'A little ice cream might help. Is there any left over?'
'Yes, I think so.'
Meg gifted her mother with her most winning smile. 'Would you get some for me?'
'Not at all,' Mrs Delevan said pleasantly. 'Get it yourself. And what's that 
horrible thing you're watching?'
'Child's Play,' Megan said. 'There's this doll named Chuckie that comes to life. 
It's neat.'
Mrs Delevan wrinkled her nose.
'Dolls don't come to life, Meg,' her father said. He spoke heavily, as if 
knowing this was a lost cause.
'Chuckie did,' Meg said. 'In movies, anything can happen.' She used the remote 
control to freeze the movie and went to get her ice cream.
'Why does she want to watch that crap?' Mr Delevan asked his wife, almost 
plaintively.
'I don't know, dear.'
Kevin had picked up the camera in one hand and several of the exposed Polaroids 
in the other - they had taken almost a dozen in all. 'I'm not so sure I want a 
refund,' he said.
His father stared at him. 'What? Jesus wept!'
'Well,' Kevin said, a little defensively, 'I'm just saying that maybe we ought 
to think about it. I mean, it's not exactly an ordinary defect, is it? I mean, 
if the pictures came out overexposed ... or underexposed ... or just plain blank 
... that would be one thing. But how do you get a thing like this? The same 
picture, over and over? I mean, look! And they're outdoors, even though we took 
every one of these pictures inside!'
'It's a practical joke,' his father said. 'It must be. The thing to do is just 
exchange the damned thing and forget about it.'
'I don't think it's a practical joke,' Kevin said. 'First, it's too complicated 
to be a practical joke. How do you rig a camera to take the same picture over 
and over? Plus, the psychology is all wrong.'
'Psychology, yet,' Mr Delevan said, rolling his eyes at his wife.
'Yes, psychology!' Kevin replied firmly. 'When a guy loads your cigarette or 
hands you a stick of pepper gum, he hangs around to watch the fun, doesn't he? 
But unless you or Mom have been pulling my leg -'
'Your father isn't much of a leg-puller, dear,' Mrs Delevan said, stating the 
obvious gently.
Mr Delevan was looking at Kevin with his lips pressed together. It was the look 
he always got when he perceived his son drifting toward that area of the 
ballpark where Kevin seemed most at home: left field. Far left field. There was 
a hunchy, intuitive streak in Kevin that had always puzzled and confounded him. 
He didn't know where it had come from, but he was sure it hadn't been his side 
of the family.
He sighed and looked at the camera again. A piece of black plastic had been 
chipped from the left side of the housing, and there was a crack, surely no 
thicker than a human hair, down the center of the viewfinder lens. The crack was 
so thin it disappeared completely when you raised the camera to your eye to set 
the shot you would not get - what you would get was on the coffee table, and 
there were nearly a dozen other examples in the dining room.
What you got was something that looked like a refugee from the local animal 
shelter.
'All right, what in the devil are you going to do with it?' he asked. 'I mean, 
let's think this over reasonably, Kevin. What practical good is a camera that 
takes the same picture over and over?'
But it was not practical good Kevin was thinking about. In fact, he was not 
thinking at all. He was feeling ... and remembering. In the instant when he had 
pushed the shutter release, one clear idea 
(it's mine)
had filled his mind as completely as the momentary white flash had filled his 
eyes. That idea, complete yet somehow inexplicable, had been accompanied by a 
powerful mixture of emotions which he could still not identify completely ... 
but he thought fear and excitement had predominated.
And besides - his father always wanted to look at things reasonably. He would 
never be able to understand Kevin's intuitions or Meg's interest in killer dolls 
named Chuckie.
Meg came back in with a huge dish of ice cream and started the movie again. 
Someone was now attempting to toast Chuckie with a blowtorch, but he went right 
on waving his knife. 'Are you two still arguing?'
'We're having a discussion,' Mr Delevan said. His lips were pressed more tightly 
together than ever.
'Yeah, right,' Meg said, sitting down on the floor again and crossing her legs. 
'You always say that.'
'Meg?' Kevin said kindly.
'What?'
'If you dump that much ice cream on top of a ruptured spleen, you'll die 
horribly in the night. Of course, your spleen might not actually be ruptured, 
but -'
Meg stuck her tongue out at him and turned back to the movie.
Mr Delevan was looking at his son with an expression of mingled affection and 
exasperation. 'Look, Kev - it's your camera. No argument about that. You can do 
whatever you want with it. But -'
'Dad, aren't you even the least bit interested in why it's doing what it's 
doing?'
'Nope,' John Delevan said.
It was Kevin's turn to roll his eyes. Meanwhile, Mrs Delevan was looking from 
one to the other like someone who is enjoying a pretty good tennis match. Nor 
was this far from the truth. She had spent years watching her son and her 
husband sharpen themselves on each other, and she was not bored with it yet. She 
sometimes wondered if they would ever discover how much alike they really were.
'Well, I want to think it over.'
'Fine. I just want you to know that I can swing by Penney's tomorrow and 
exchange the thing - if you want me to and they agree to swap a piece of chipped 
merchandise, that is. If you want to keep it, that's fine, too. I wash my hands 
of it.' He dusted his palms briskly together to illustrate.
'I suppose you don't want my opinion,' Meg said.
'Right,' Kevin said.
'Of course we do, Meg,' Mrs Delevan said.
'I think it's a supernatural camera,' Meg said. She licked ice cream from her 
spoon. 'I think it's a Manifestation.'
'That's utterly ridiculous,' Mr Delevan said at once.
'No, it's not,' Meg said. 'It happens to be the only explanation that fits. You 
just don't think so because you don't believe in stuff like that. If a ghost 
ever floated up to you, Dad, you wouldn't even see it. What do you think, Kev?'
For a moment Kevin didn't - couldn't - answer. He felt as if another flashbulb 
had gone off, this one behind his eyes instead of in front of them.
'Kev? Earth to Kevin!'
'I think you might just have something there, squirt,' he said slowly.
'Oh my dear God,' John Delevan said, getting up. 'It's the revenge of Freddy and 
Jason - my kid thinks his birthday camera's haunted. I'm going to bed, but 
before I do, I want to say just one more thing. A camera that takes photographs 
of the same thing over and over again - especially something as ordinary as 
what's in these pictures - is a boring manifestation of the supernatural.'
'Still . . .' Kevin said. He held up the photos like a dubious poker hand.
'I think it's time we all went to bed,' Mrs Delevan said briskly. 'Meg, if you 
absolutely need to finish that cinematic masterpiece, you can do it in the 
morning.'
'But it's almost over!' Meg cried.
'I'll come up with her, Mom,' Kevin said, and, fifteen minutes later, with the 
malevolent Chuckie disposed of (at least until the sequel), he did. But sleep 
did not come easily for Kevin that night. He lay long awake in his bedroom, 
listening to a strong late-summer wind rustle the leaves outside into whispery 
conversation, thinking about what might make a camera take the same picture over 
and over and over again, and what such a thing might mean. He only began to slip 
toward sleep when he realized his decision had been made; he would keep the 
Polaroid Sun at least a little while longer.
It's mine, he thought again. He rolled over on his side, closed his eyes, and 
was sleeping deeply forty seconds later.
CHAPTER 2
Amid the tickings and tockings of what sounded like at least fifty thousand 
clocks and totally undisturbed by them, Reginald 'Pop' Merrill shone a 
pencil-beam of light from a gadget even more slender than a doctor's 
ophthalmoscope into Kevin's Polaroid 660 while Kevin stood by. Pop's eyeglasses, 
which he didn't need for close work, were propped on the bald dome of his head.
'Uh-huh,' he said, and clicked the light off.
'Does that mean you know what's wrong with it?' Kevin asked.
'Nope,' Pop Merrill said, and snapped the Sun's film compartment, now empty, 
closed. 'Don't have a clue.' And before Kevin could say anything else, the 
clocks began to strike four o'clock, and for a few moments conversation, 
although possible, seemed absurd.
I want to think it over, he had told his father on the evening he had turned 
fifteen - three days ago now - and it was a statement which had surprised both 
of them. As a child he had made a career of not thinking about things, and Mr 
Delevan had in his heart of hearts come to believe Kevin never would think about 
things, whether he ought to or not. They had been seduced, as fathers and sons 
often are, by the idea that their behavior and very different modes of thinking 
would never change, thus fixing their relationship eternally ... and childhood 
would thus go on forever. I want to think it over: there was a world of 
potential change implicit in that statement.
Further, as a human being who had gone through his life to that point making 
most decisions on instinct rather than reason (and he was one of those lucky 
ones whose instincts were almost always good - the sort of person, in other 
words, who drives reasonable people mad), Kevin was surprised and intrigued to 
find that he was actually on the Horns of a Dilemma.
Horn #1: he had wanted a Polaroid camera and he had gotten one for his birthday, 
but, dammit, he had wanted a Polaroid camera that worked.
Horn #2: he was deeply intrigued by Meg's use of the word supernatural.
His younger sister had a daffy streak a mile wide, but she wasn't stupid, and 
Kevin didn't think she had used the word lightly or thoughtlessly. His father, 
who was of the Reasonable rather than Instinctive tribe, had scoffed, but Kevin 
found he wasn't ready to go and do likewise . . . at least, not yet. That word. 
That fascinating, exotic word. It became a plinth which his mind couldn't help 
circling.
I think it's a Manifestation.
Kevin was amused (and a little chagrined) that only Meg had been smart enough - 
or brave enough - to actually say what should have occurred to all of them, 
given the oddity of the pictures the Sun produced, but in truth, it wasn't 
really that amazing. They were not a religious family; they went to church on 
the Christmas Day every third year when Aunt Hilda came to spend the holiday 
with them instead of her other remaining relatives, but except for the 
occasional wedding or funeral, that was about all. If any of them truly believed 
in the invisible world it was Megan, who couldn't get enough of walking corpses, 
living dolls, and cars that came to life and ran down people they didn't like.
Neither of Kevin's parents had much taste for the bizarre. They didn't read 
their horoscopes in the daily paper; they would never mistake comets or falling 
stars for signs from the Almighty; where one couple might see the face of Jesus 
on the bottom of an enchilada, John and Mary Delevan would see only an 
overcooked enchilada. It was not surprising that Kevin, who had never seen the 
man in the moon because neither mother nor father had bothered to point it out 
to him, had been likewise unable to see the possibility of a supernatural 
Manifestation in a camera which took the same picture over and over again, 
inside or outside, even in the dark of his bedroom closet, until it was 
suggested to him by his sister, who had once written a fan-letter to Jason and 
gotten an autographed glossy photo of a guy in a bloodstained hockey mask by 
return mail.
Once the possibility had been pointed out, it became difficult to unthink; as 
Dostoyevsky, that smart old Russian, once said to his little brother when the 
two of them were both smart young Russians, try to spend the next thirty seconds 
not thinking of a blue-eyed polar bear.
It was hard to do.
So he had spent two days circling that plinth in his mind, trying to read 
hieroglyphics that weren't even there, for pity's sake, and trying to decide 
which he wanted more: the camera or the possibility of a Manifestation. Or, put 
another way, whether he wanted the Sun ... or the man in the moon.
By the end of the second day (even in fifteen-year-olds who are clearly destined 
for the Reasonable tribe, dilemmas rarely last longer than a week), he had 
decided to take the man in the moon ... on a trial basis, at least.
He came to this decision in study hall period seven, and when the bell rang, 
signalling the end of both the study hall and the school-day, he had gone to the 
teacher he respected most, Mr Baker, and had asked him if he knew of anyone who 
repaired cameras.
'Not like a regular camera-shop guy,' he explained. 'More like a ... you know 
... a thoughtful guy.'
'An F-stop philosopher?' Mr Baker asked. His saying things like that was one of 
the reasons why Kevin respected him. It was just a cool thing to say. 'A sage of 
the shutter? An alchemist of the aperture? A-'
'A guy who's seen a lot,' Kevin said cagily.
'Pop Merrill,' Mr Baker said.
'Who?'
'He runs the Emporium Galorium.'
'Oh. That place.'
'Yeah,' Mr Baker said, grinning. 'That place. If, that is, what you're looking 
for is a sort of homespun Mr Fixit.'
'I guess that's what I am looking for.'
'He's got damn near everything in there,' Mr Baker said, and Kevin could agree 
with that. Even though he had never actually been inside, he passed the Emporium 
Galorium five, ten, maybe fifteen times a week (in a town the size of Castle 
Rock, you had to pass everything a lot, and it got amazingly boring in Kevin 
Delevan's humble opinion), and he had looked in the windows. It seemed crammed 
literally to the rafters with objects, most of them mechanical. But his mother 
called it 'a junk-store' in a sniffing voice, and his father said Mr Merrill 
made his money 'rooking the summer people,' and so Kevin had never gone in. If 
it had only been a 'junk-store,' he might have; almost certainly would have, in 
fact. But doing what the summer people did, or buying something where summer 
people 'got rooked' was unthinkable. He would be as apt to wear a blouse and 
skirt to high school. Summer people could do what they wanted (and did). They 
were all mad, and conducted their affairs in a mad fashion. Exist with them, 
fine. But be confused with them? No. No. And no sir.
'Damn near everything,' Mr Baker repeated, 'and most of what he's got, he fixed 
himself. He thinks that crackerbarrel-philosopher act he does, glasses up on top 
of the head, wise pronouncements, all of that - fools people. No one who knows 
him disabuses him. I'm not sure anyone would dare disabuse him.'
'Why? What do you mean?'
Mr Baker shrugged. An odd, tight little smile touched his mouth. 'Pop - Mr 
Merrill, I mean - has got his fingers in a lot of pies around here. You'd be 
surprised, Kevin.'
Kevin didn't care about how many pies Pop Merrill was currently fingering, or 
what their fillings might be. He was left with only one more important question, 
since the summer people were gone and he could probably slink into the Emporium 
Galorium unseen tomorrow afternoon if he took advantage of the rule which 
allowed all students but freshmen to cut their last-period study hall twice a 
month.
'Do I call him Pop or Mr Merrill?'
Solemnly, Mr Baker replied, 'I think the man kills anyone under the age of sixty 
who calls him Pop.'
And the thing was, Kevin had an idea Mr Baker wasn't exactly joking.
'You really don't know, huh?' Kevin said when the clocks began to wind down.
It had not been like in a movie, where they all start and finish striking at 
once; these were real clocks, and he guessed that most of them - along with the 
rest of the appliances in the Emporium Galorium - were not really running at all 
but sort of lurching along. They had begun at what his own Seiko quartz watch 
said was 3:58. They began to pick up speed and volume gradually (like an old 
truck fetching second gear with a tired groan and jerk). There were maybe four 
seconds when all of them really did seem to be striking, bonging, chiming, 
clanging, and cuckoo-ing at the same time, but four seconds was all the 
synchronicity they could manage. And 'winding down' was not exactly what they 
did. What they did was sort of give up, like water finally consenting to gurgle 
its way down a drain which is almost but not quite completely plugged.
He didn't have any idea why he was so disappointed. Had he really expected 
anything else? For Pop Merrill, whom Mr Baker had described as a crackerbarrel 
philosopher and homespun Mr Fixit, to pull out a spring and say, 'Here it is - 
this is the bastard causing that dog to show up every time you push the shutter 
release. It's a dog-spring, belongs in one of those toy dogs a kid winds up so 
it'll walk and bark a little, some joker on the Polaroid Sun 660 assembly line's 
always putting them in the damn cameras.'
Had he expected that?
No. But he had expected ... something.
'Don't have a friggin clue,' Pop repeated cheerfully. He reached behind him and 
took a Douglas MacArthur corncob pipe from a holder shaped like a bucket seat. 
He began to tamp tobacco into it from an imitation-leather pouch with the words 
EVIL WEED stamped into it. 'Can't even take these babies apart, you know.'
'You can't ?'
'Nope,' Pop said. He was just as chipper as a bird. He paused long enough to 
hook a thumb over the wire ridge between the lenses of his rimless specs and 
give them a yank. They dropped off his bald dome and fell neatly into place, 
hiding the red spots on the sides of his nose, with a fleshy little thump. 'You 
could take apart the old ones,' he went on, now producing a Diamond Blue Tip 
match from a pocket of his vest (of course he was wearing a vest) and pressing 
the thick yellow thumbnail of his right hand on its head. Yes, this was a man 
who could rook the summer people with one hand tied behind his back (always 
assuming it wasn't the one he used to first fish out his matches and then light 
them) - even at fifteen years of age, Kevin could see that. Pop Merrill had 
style. 'The Polaroid Land cameras, I mean. Ever seen one of those beauties?'
'No,' Kevin said.
Pop snapped the match alight on the first try, which of course he would always 
do, and applied it to the corncob, his words sending out little smokesignals 
which looked pretty and smelled absolutely foul.
'Oh yeah,' he said. 'They looked like those old-time cameras people like Mathew 
Brady used before the turn of the century - or before the Kodak people 
introduced the Brownie box camera, anyway. What I mean to say is' (Kevin was 
rapidly learning that this was Pop Merrill's favorite phrase; he used it the way 
some of the kids in school used 'you know,' as intensifier, modifier, qualifier, 
and most of all as a convenient thought-gathering pause) 'they tricked it up 
some, put on chrome and real leather side-panels, but it still looked 
old-fashioned, like the sort of camera folks used to make daguerreotypes with. 
When you opened one of those old Polaroid Land cameras, it snapped out an 
accordion neck, because the lens needed half a foot, maybe even nine inches, to 
focus the image. It looked old-fashioned as hell when you put it next to one of 
the Kodaks in the late forties and early fifties, and it was like those old 
daguerreotype cameras in another way - it only took black-and-white photos.'
'Is that so?' Kevin asked, interested in spite of himself.
'Oh, ayuh!' Pop said, chipper as a chickadee, blue eyes twinkling at Kevin 
through the smoke from his fuming stewpot of a pipe and from behind his round 
rimless glasses. It was the sort of twinkle which may indicate either good humor 
or avarice. 'What I mean to say is that people laughed at those cameras the way 
they laughed at the Volkswagen Beetles when they first come out ... but they 
bought the Polaroids just like they bought the VWs. Because the Beetles got good 
gas mileage and didn't go bust so often as American cars, and the Polaroids did 
one thing the Kodaks and even the Nikons and Minoltas and Leicas didn't.'
'Took instant pictures.'
Pop smiled. 'Well ... not exactly. What I mean to say is you took your pitcher, 
and then you yanked on this flap to pull it out. It didn't have no motor, didn't 
make that squidgy little whining noise like modern Polaroids.'
So there was a perfect way to describe that sound after all, it was just that 
you had to find a Pop Merrill to tell it to you: the sound that Polaroid cameras 
made when they spat out their produce was a squidgy little whine.
'Then you had to time her,' Pop said.
'Time -?'
'Oh, ayuh!' Pop said with great relish, bright as the early bird who has found 
that fabled worm. 'What I mean to say is they didn't have none of this happy 
automatic crappy back in those days. You yanked and out come this long strip 
which you put on the table or whatever and timed off sixty seconds on your 
watch. Had to be sixty, or right around there, anyway. Less and you'd have an 
underexposed pitcher. More and it'd be overexposed.'
'Wow,' Kevin said respectfully. And this was not bogus respect, jollying the old 
man along in hopes he would get back to the point, which was not a bunch of 
long-dead cameras that had been wonders in their day but his own camera, the 
damned balky Sun 660 sitting on Pop's worktable with the guts of an old 
seven-day clock on its right and something which looked suspiciously like a 
dildo on its left. It wasn't bogus respect and Pop knew it, and it occurred to 
Pop (it wouldn't have to Kevin) how fleeting that great white god 
'state-of-the-art' really was; ten years, he thought, and the phrase itself 
would be gone. From the boy's fascinated expression, you would have thought he 
was hearing about something as antique as George Washington's wooden dentures 
instead of a camera everyone had thought was the ultimate only thirty-five years 
ago. But of course this boy had still been circling around in the unhatched void 
thirty-five years ago, part of a female who hadn't yet even met the male who 
would provide his other half.
'What I mean to say is it was a regular little darkroom goin on in there between 
the pitcher and the backing,' Pop resumed, slow at first but speeding up as his 
own mostly genuine interest in the subject resurfaced (but the thoughts of who 
this kid's father was and what the kid might be worth to him and the strange 
thing the kid's camera was up to never completely left his mind). 'And at the 
end of the minute, you peeled the pitcher off the back - had to be careful when 
you did it, too, because there was all this goo like jelly on the back, and if 
your skin was in the least bit sensitive, you could get a pretty good burn.'
'Awesome,' Kevin said. His eyes were wide, and now he looked like a kid hearing 
about the old two-holer outhouses which Pop and all his childhood colleagues 
(they were almost all colleagues; he had had few childhood friends in Castle 
Rock, perhaps preparing even then for his life's work of rooking the summer 
people and the other children somehow sensing it, like a faint smell of skunk) 
had taken for granted, doing your business as fast as you could in high summer 
because one of the wasps always circling around down there between the manna and 
the two holes which were the heaven from which the manna fell might at any time 
take a notion to plant its stinger in one of your tender little boycheeks, and 
also doing it as fast as you could in deep winter because your tender little 
boycheeks were apt to freeze solid if you didn't. Well, Pop thought, so much for 
the Camera of the Future. Thirty-five years and to this kid it's interestin in 
the same way a backyard shithouse is interestin.
'The negative was on the back,' Pop said. 'And your positive - well, it was 
black and white, but it was fine black and white. It was just as crisp and clear 
as you'd ever want even today. And you had this little pink thing, about as long 
as a school eraser. as I remember; it squeegeed out some kind of chemical, 
smelled like ether, and you had to rub it over the pitcher as fast as you could, 
or that pitcher'd roll right up, like the tube in the middle of a roll of 
bung-fodder.'
Kevin burst out laughing, tickled by these pleasant antiquities.
Pop quit long enough to get his pipe going again. When he had, he resumed: 'A 
camera like that, nobody but the Polaroid people really knew what it was doing - 
I mean to say those people were close - but it was mechanical. You could take it 
apart.'
He looked at Kevin's Sun with some distaste.
'And, lots of times when one went bust, that was as much as you needed. Fella'd 
come in with one of those and say it wouldn't work, moanin about how he'd have 
to send it back to the Polaroid people to get it fixed and that'd prob'ly take 
months and would I take a look. "Well," I'd say, "prob'ly nothin I can do, what 
I mean to say is nobody really knows about these cameras but the Polaroid people 
and they're goddam close, but I'll take a look." All the time knowin it was 
prob'ly just a loose screw inside that shutter-housin or maybe a fouled spring, 
or hell, maybe junior slathered some peanut butter in the film compartment.'
One of his bright bird-eyes dropped in a wink so quick and so marvellously sly 
that, Kevin thought, if you hadn't known he was talking about summer people, you 
would have thought it was your paranoid imagination, or, more likely, missed it 
entirely.
'What I mean to say is you had your perfect situation,' Pop said. 'If you could 
fix it, you were a goddam wonder-worker. Why, I have put eight dollars and fifty 
cents in my pocket for takin a couple of little pieces of potato-chip out from 
between the trigger and the shutter-spring, my son, and the woman who brought 
that camera in kissed me on the lips. Right ... on ... the lips.'
Kevin observed Pop's eye drop momentarily closed again behind the 
semi-transparent mat of blue smoke.
'And of course, if it was somethin you couldn't fix, they didn't hold it against 
you because, what I mean to say, they never really expected you to be able to do 
nothin in the first place. You was only a last resort before they put her in a 
box and stuffed newspapers around her to keep her from bein broke even worse in 
the mail, and shipped her off to Schenectady.
'But - this camera.' He spoke in the ritualistic tone of distaste all 
philosophers of the crackerbarrel, whether in Athens of the golden age or in a 
small-town junk-shop during this current one of brass, adopt to express their 
view of entropy without having to come right out and state it. 'Wasn't put 
together, son. What I mean to say is it was poured. I could maybe pop the lens, 
and will if you want me to, and I did look in the film compartment, although I 
knew I wouldn't see a goddam thing wrong - that I recognized, at least - and I 
didn't. But beyond that I can't go. I could take a hammer and wind it right to 
her, could break it, what I mean to say, but fix it?' He spread his hands in 
pipe-smoke. 'Nossir.'
'Then I guess I'll just have to -' return it after all, he meant to finish, but 
Pop broke in.
'Anyway, son, I think you knew that. What I mean to say is you're a bright boy, 
you can see when a thing's all of a piece. I don't think you brought that camera 
in to be fixed. I think you know that even if it wasn't all of a piece, a man 
couldn't fix what that thing's doing, at least not with a screwdriver. I think 
you brought it in to ask me if I knew what it's up to.'
'Do you?' Kevin asked. He was suddenly tense all over.
'I might,' Pop Merrill said calmly. He bent over the pile of photographs 
twenty-eight of them now, counting the one Kevin had snapped to demonstrate, and 
the one Pop had snapped to demonstrate to himself. 'These in order?'
'Not really. Pretty close, though. Does it matter?'
'I think so,' Pop said. 'They're a little bit different, ain't they? Not much, 
but a little.'
'Yeah,' Kevin said. 'I can see the difference in some of them, but .
'Do you know which one is the first? I could prob'ly figure it out for myself, 
but time is money, son.'
'That's easy,' Kevin said, and picked one out of the untidy little pile. 'See 
the frosting?' He pointed at a small brown spot on the picture's white edging.
'Ayup.' Pop didn't spare the dab of frosting more than a glance. He looked 
closely at the photograph, and after a moment he opened the drawer of his 
worktable. Tools were littered untidily about inside. To one side, in its own 
space, was an object wrapped in jeweler's velvet. Pop took this out, folded the 
cloth back, and removed a large magnifying glass with a switch in its base. He 
bent over the Polaroid and pushed the switch. A bright circle of light fell on 
the picture's surface.
'That's neat!' Kevin said.
'Ayup,' Pop said again. Kevin could tell that for Pop he was no longer there. 
Pop was studying the picture closely.
If one had not known the odd circumstances of its taking, the picture would 
hardly have seemed to warrant such close scrutiny. Like most photographs which 
are taken with a decent camera, good film, and by a photographer at least 
intelligent enough to keep his finger from blocking the lens, it was clear, 
understandable ... and, like so many Polaroids, oddly undramatic. It was a 
picture in which you could identify and name each object, but its content was as 
flat as its surface. It was not well composed, but composition wasn't what was 
wrong with it - that undramatic flatness could hardly be called wrong at all, 
any more than a real day in a real life could be called wrong because nothing 
worthy of even a made-for-television movie happened during its course. As in so 
many Polaroids, the things in the picture were only there, like an empty chair 
on a porch or an unoccupied child's swing in a back yard or a passengerless car 
sitting at an unremarkable curb without even a flat tire to make it interesting 
or unique.
What was wrong with the picture was the feeling that it was wrong. Kevin had 
remembered the sense of unease he had felt while composing his subjects for the 
picture he meant to take, and the ripple of gooseflesh up his back when, with 
the glare of the flashbulb still lighting the room, he had thought, It's mine. 
That was what was wrong, and as with the man in the moon you can't unsee once 
you've seen it, so, he was discovering, you couldn't unfeel certain feelings ... 
and when it came to these pictures, those feelings were bad.
Kevin thought: It's like there was a wind - very soft, very cold - blowing out 
of that picture.
For the first time, the idea that it might be something supernatural - that this 
was part of a Manifestation - did something more than just intrigue him. For the 
first time he found himself wishing he had simply let this thing go. It's mine - 
that was what he had thought when his finger had pushed the shutter-button for 
the first time. Now he found himself wondering if maybe he hadn't gotten that 
backward.
I'm scared of it. Of what it's doing.
That made him mad, and he bent over Pop Merrill's shoulder, hunting as grimly as 
a man who has lost a diamond in a sandpile, determined that, no matter what he 
saw (always supposing he should see something new, and he didn't think he would; 
he had studied all these photographs often enough now to believe he had seen all 
there was to see in them), he would look at it, study it, and under no 
circumstances allow himself to unsee it. Even if he could ... and a dolorous 
voice inside suggested very strongly that the time for unseeing was now past, 
possibly forever.
What the picture showed was a large black dog in front of a white picket fence. 
The picket fence wasn't going to be white much longer, unless someone in that 
flat Polaroid world painted or at least whitewashed it. That didn't seem likely; 
the fence looked untended, forgotten. The tops of some pickets were broken off. 
Others sagged loosely outward.
The dog was on a sidewalk in front of the fence. His hindquarters were to the 
viewer. His tail, long and bushy, drooped. He appeared to be smelling one of the 
fence-pickets - probably, Kevin thought, because the fence was what his dad 
called a 'letter-drop,' a place where many dogs would lift their legs and leave 
mystic yellow squirts of message before moving on.
The dog looked like a stray to Kevin. Its coat was long and tangled and sown 
with burdocks. One of its ears had the crumpled look of an old battle-scar. Its 
shadow trailed long enough to finish outside the frame on the weedy, patchy lawn 
inside the picket fence. The shadow made Kevin think the picture had been taken 
not long after dawn or not long before sunset; with no idea of the direction the 
photographer (what photographer, ha-ha) had been facing, it was impossible to 
tell which, just that he (or she) must have been standing only a few degrees shy 
of due east or west.
There was something in the grass at the far left of the picture which looked 
like a child's red rubber ball. It was inside the fence, and enough behind one 
of the lackluster clumps of grass so it was hard to tell.
And that was all.
'Do you recognize anything?' Pop asked, cruising his magnifying glass slowly 
back and forth over the photo's surface. Now the dog's hindquarters swelled to 
the size of hillocks tangled with wild and ominously exotic black undergrowth; 
now three or four of the scaly pickets became the size of old telephone poles; 
now, suddenly, the object behind the clump of grass clearly became a child's 
ball (although under Pop's glass it was as big as a soccer ball): Kevin could 
even see the stars which girdled its middle in upraised rubber lines. So 
something new was revealed under Pop's glass, and in a few moments Kevin would 
see something else himself, without it. But that was later.
'Jeez, no,' Kevin said. 'How could I, Mr Merrill?'
'Because there are things here,' Pop said patiently. His glass went on cruising. 
Kevin thought of a movie he had seen once where the cops sent out a 
searchlight-equipped helicopter to look for escaped prisoners. 'A dog, a 
sidewalk, a picket fence that needs paintin or takin down, a lawn that needs 
tendin. The sidewalk ain't much - you can't even see all of it - and the house, 
even the foundation, ain't in the frame, but what I mean to say is there's that 
dog. You recognize it?'
'No.'
'The fence?'
'No.'
'What about that red rubber ball? What about that, son?'
'No ... but you look like you think I should.'
'I look like I thought you might,' Pop said. 'You never had a ball like that 
when you were a tyke?'
'Not that I remember, no.'
'You got a sister, you said.'
'Megan.'
'She never had a ball like that?'
'I don't think so. I never took that much interest in Meg's toys. She had a BoLo 
bouncer once, and the ball on the end of it was red, but a different shade. 
Darker.'
'Ayuh. I know what a ball like that looks like. This ain't one. And that 
mightn't be your lawn?'
'Jes - I mean jeepers, no.' Kevin felt a little offended. He and his dad took 
good care of the lawn around their house. It was a deep green and would stay 
that way, even under the fallen leaves, until at least mid-October. 'We don't 
have a picket fence, anyway.' And if we did, he thought, it wouldn't look like 
that mess.
Pop let go of the switch in the base of the magnifying glass, placed it on the 
square of jeweler's velvet, and with a care which approached reverence folded 
the sides over it. He returned it to its former place in the drawer and closed 
the drawer. He looked at Kevin closely. He had put his pipe aside, and there was 
now no smoke to obscure his eyes, which were still sharp but not twinkling 
anymore.
'What I mean to say is, could it have been your house before you owned it, do 
you think? Ten years ago -'
'We owned it ten years ago,' Kevin replied, bewildered.
'Well, twenty? Thirty? What I mean to say, do you recognize how the land lies? 
Looks like it climbs a little.'
'Our front lawn -' He thought deeply, then shook his head. 'No, ours is flat. If 
it does anything, it goes down a little. Maybe that's why the cellar ships a 
little water in a wet spring.'
'Ayuh, ayuh, could be. What about the back lawn?'
'There's no sidewalk back there,' Kevin said. 'And on the sides -' He broke off. 
'You're trying to find out if my camera's taking pictures of the past!' he said, 
and for the first time he was really, actively frightened. He rubbed his tongue 
on the roof of his mouth and seemed to taste metal.
'I was just askin.' Pop rapped his fingers beside the photographs, and when he 
spoke, it seemed to be more to himself than to Kevin. 'You know,' he said, 'some 
goddam funny things seem to happen from time to time with two gadgets we've come 
to take pretty much for granted. I ain't sayin they do happen; only if they 
don't, there are a lot of liars and out-n-out hoaxers in the world.'
'What gadgets?'
'Tape recorders and Polaroid cameras,' Pop said, still seeming to talk to the 
pictures, or himself, and there was no Kevin in this dusty clock-drumming space 
at the back of the Emporium Galorium at all. 'Take tape recorders. Do you know 
how many people claim to have recorded the voices of dead folks on tape 
recorders?'
'No,' Kevin said. He didn't particularly mean for his own voice to come out 
hushed, but it did; he didn't seem to have a whole lot of air in his lungs to 
speak with, for some reason or other.
'Me neither,' Pop said, stirring the photographs with one finger. It was blunt 
and gnarled, a finger which looked made for rude and clumsy motions and 
operations, for poking people and knocking vases off endtables and causing 
nosebleeds if it tried to do so much as hook a humble chunk of dried snot from 
one of its owner's nostrils. Yet Kevin had watched the man's hands and thought 
there was probably more grace in that one finger than in his sister Meg's entire 
body (and maybe in his own; Clan Delevan was not known for its lightfootedness 
or handedness, which was probably one reason why he thought that image of his 
father so nimbly catching his mother on the way down had stuck with him, and 
might forever). Pop Merrill's finger looked as if it would at any moment sweep 
all the photographs onto the floor - by mistake; this sort of clumsy finger 
would always poke and knock and tweak by mistake - but it did not. The Polaroids 
seemed to barely stir in response to its restless movements.
Supernatural, Kevin thought again, and shivered a little. An actual shiver, 
surprising and dismaying and a little embarrassing even if Pop had not seen it.
'But there's even a way they do it,' Pop said, and then, as if Kevin had asked: 
'Who? Damn if I know. I guess some of them are "psychic investigators," or at 
least call themselves that or some such, but I guess it's more'n likely most of 
em are just playin around, like folks that use Ouija Boards at parties.'
He looked up at Kevin grimly, as if rediscovering him.
'You got a Ouija, son?'
'No.'
'Ever played with one?'
'No.'
'Don't,' Pop said more grimly than ever. 'Fuckin things are dangerous.'
Kevin didn't dare tell the old man he hadn't the slightest idea what a weegee 
board was.
'Anyway, they set up a tape machine to record in an empty room. It's supposed to 
be an old house, is what I mean to say, one with a History, if they can find it. 
Do you know what I mean when I say a house with a History, son?'
'I guess ... like a haunted house?' Kevin hazarded. He found he was sweating 
lightly, as he had done last year every time Mrs Whittaker announced a pop quiz 
in Algebra 1.
'Well, that'll do. These ... people ... like it best if it's a house with a 
Violent History, but they'll take what they can get. Anyhow, they set up the 
machine and record that empty room. Then, the next day - they always do it at 
night is what I mean to say, they ain't happy unless they can do it at night, 
and midnight if they can get it - the next day they play her back.'
'An empty room?'
'Sometimes,' Pop said in a musing voice that might or might not have disguised 
some deeper feeling, 'there are voices.'
Kevin shivered again. There were hieroglyphics on the plinth after all. Nothing 
you'd want to read, but ... yeah. They were there.
'Real voices?'
'Usually imagination,' Pop said dismissively. 'But once or twice I've heard 
people I trust say they've heard real voices.'
'But you never have?'
'Once,' Pop said shortly, and said nothing else for so long Kevin was beginning 
to think he was done when he added, 'It was one word. Clear as a bell. 'Twas 
recorded in the parlor of an empty house in Bath. Man killed his wife there in 
1946.'
'What was the word?' Kevin asked, knowing he would not be told just as surely as 
he knew no power on earth, certainly not his own willpower, could have kept him 
from asking.
But Pop did tell.
'Basin.'
Kevin blinked. 'Basin?'
'Ayuh.'
'That doesn't mean anything.'
'It might,' Pop said calmly, 'if you know he cut her throat and then held her 
head over a basin to catch the blood.'
'Oh my God!'
'Ayuh.'
'Oh my God, really?'
Pop didn't bother answering that.
'It couldn't have been a fake?'
Pop gestured with the stem of his pipe at the Polaroids. 'Are those?'
'Oh my God.'
'Polaroids, now,' Pop said, like a narrator moving briskly to a new chapter in a 
novel and reading the words Meanwhile, in another part of the forest, 'I've seen 
pitchers with people in em that the other people in the pitcher swear weren't 
there with em when the pitcher was taken. And there's one - this is a famous one 
- that a lady took over in England. What she did was snap a pitcher of some 
fox-hunters comin back home at the end of the day. You see em, about twenty in 
all, comin over a little wooden bridge. It's a tree-lined country road on both 
sides of that bridge. The ones in front are off the bridge already. And over on 
the right of the pitcher, standin by the road, there's a lady in a long dress 
and a hat with a veil on it so you can't see her face and she's got her 
pocketbook over her arm. Why, you can even see she's wearin a locket on her 
bosom, or maybe it's a watch.
'Well, when the lady that took the pitcher saw it, she got wicked upset, and 
wasn't nobody could blame her, son, because what I mean to say is she meant to 
take a pitcher of those fox-hunters comin home and no one else, because there 
wasn't nobody else there. Except in the pitcher there is. And when you look real 
close, it seems like you can see the trees right through that lady.'
He's making all this up, putting me on, and when I leave he'll have a great big 
horselaugh, Kevin thought, knowing Pop Merrill was doing nothing of the sort.
'The lady that took that pitcher was stayin at one of those big English homes 
like they have on the education-TV shows, and when she showed that pitcher, I 
heard the man of the house fainted dead away. That part could be made up. 
Prob'ly is. Sounds made up, don't it? But I seen that pitcher in an article next 
to a painted portrait of that fella's great-grandmother, and it could be her, 
all right. Can't tell for certain because of the veil. But it could be.'
'Could be a hoax, too,' Kevin said faintly.
'Could be,' Pop said indifferently. 'People get up to all sorts of didos. Lookit 
my nephew, there, for instance, Ace.' Pop's nose wrinkled. 'Doin four years in 
Shawshank, and for what? Bustin into The Mellow Tiger. He got up to didos and 
Sheriff Pangborn. slammed him in the jug for it. Little ringmeat got just what 
he deserved.'
Kevin, displaying a wisdom far beyond his years, said nothing.
'But when ghosts show up in photographs, son - or, like you say, what people 
claim to be ghosts - it's almost always in Polaroid photographs. And it almost 
always seems to be by accident. Now your pitchers of flyin saucers and that Lock 
Nest Monster, they almost always show up in the other kind. The kind some smart 
fella can get up to didos with in a darkroom.'
He dropped Kevin a third wink, expressing all the didos (whatever they were) an 
unscrupulous photographer might get up to in a well-equipped darkroom.
Kevin thought of asking Pop if it was possible someone could get up to didos 
with a weegee and decided to continue keeping his mouth shut. It still seemed by 
far the wisest course.
'All by way of sayin I thought I'd ask if you saw somethin you knew in these 
Polaroid pitchers.'
'I don't, though,' Kevin said so earnestly that he believed Pop would believe he 
was lying, as his mom always did when he made the tactical mistake of even 
controlled vehemence.
'Ayuh, ayuh,' Pop said, believing him so dismissively Kevin was almost 
irritated.
'Well,' Kevin said after a moment which was silent except for the fifty thousand 
ticking clocks, 'I guess that's it, huh?'
'Maybe not,' Pop said. 'What I mean to say is I got me a little idear. You mind 
takin some more pitchers with that camera?'
'What good is it? They're all the same.'
'That's the point. They ain't.'
Kevin opened his mouth, then closed it.
'I'll even chip in for the film,' Pop said, and when he saw the amazed look on 
Kevin's face he quickly qualified: 'A little, anyway.'
'How many pictures would you want?'
'Well, you got ... what? Twenty-eight already, is that right?'
'Yes, I think so.'
'Thirty more,' Pop said after a moment's thought.
'Why?'
'Ain't gonna tell you. Not right now.' He produced a heavy purse that was hooked 
to a belt-loop on a steel chain. He opened it and took out a ten-dollar bill, 
hesitated, and added two ones with obvious reluctance. 'Guess that'd cover half 
of it.'
Yeah, right, Kevin thought.
'If you really are int'rested in the trick that camera's doing, I guess you'd 
pony up the rest, wouldn't you?' Pop's eyes gleamed at him like the eyes of an 
old, curious cat.
Kevin understood the man did more than expect him to say yes; to Pop it was 
inconceivable that he could say no. Kevin thought, If I said no he wouldn't hear 
it; he'd say 'Good, that's agreed, then,' and I'd end up back on the sidewalk 
with his money in my pocket whether I wanted it or not.
And he did have his birthday money.
All the same, there was that chill wind to think about. That wind that seemed to 
blow not from the surface but right out of those photographs in spite of their 
deceptively flat, deceptively shiny surfaces. He felt that wind coming from them 
despite their mute declaration which averred We are Polaroids, and for no reason 
we can tell or even understand, we show only the undramatic surfaces of things. 
That wind was there. What about that wind?
Kevin hesitated a moment longer and the bright eyes behind the rimless 
spectacles measured him. I ain't gonna ask you if you're a man or a mouse, Pop 
Merrill's eyes said. You're fifteen years old, and what I mean to say is at 
fifteen you may not be a man yet, not quite, but you are too goddam old to be a 
mouse and both of us know it. And besides you're not from Away; you're from 
town, just like me.
'Sure,' Kevin said with a hollow lightness in his voice. It fooled neither of 
them. 'I can get the film tonight, I guess, and bring the pictures in tomorrow, 
after school.'
'Nope,' Pop said.
'You're closed tomorrow?'
'Nope,' Pop said, and because he was from town, Kevin waited patiently. 'You're 
thinkin about takin thirty pictures all at once, aren't you?'
'I guess so.' But Kevin hadn't thought about it; he had simply taken it for 
granted.
'That ain't the way I want you to do it,' Pop said. 'It don't matter where you 
take them, but it does matter when. Here. Lemme figure.'
Pop figured, and then even wrote down a list of times, which Kevin pocketed.
'So!' Pop said, rubbing his hands briskly together so that they made a dry sound 
that was like two pieces of used-up sandpaper rubbing together. 'You'll see me 
in ... oh, three days or so?'
'Yes . . . I guess so.'
'I'll bet you'd just as lief wait until Monday after school, anyway,' Pop said. 
He dropped Kevin a fourth wink, slow and sly and humiliating in the extreme. 'So 
your friends don't see you comin in here and tax you with it, is what I mean to 
say.'
Kevin flushed and dropped his eyes to the worktable and began to gather up the 
Polaroids so his hands would have something to do. When he was embarrassed and 
they didn't, he cracked his knuckles.
'I -' He began some sort of absurd protest that would convince neither of them 
and then stopped, staring down at one of the photos.
'What?' Pop asked. For the first time since Kevin had approached him, Pop 
sounded entirely human, but Kevin hardly heard his words, much less his tone of 
faint alarm. 'Now you look like you seen a ghost, boy.'
'No,' Kevin said. 'No ghost. I see who took the picture. Who really took the 
picture.'
'What in glory are you talking about?'
Kevin pointed to a shadow. He, his father, his mother, Meg, and apparently Mr 
Merrill himself had taken it for the shadow of a tree that wasn't itself in the 
frame. But it wasn't a tree. Kevin saw that now, and what you had seen could 
never be unseen.
More hieroglyphics on the plinth.
'I don't see what you're gettin at,' Pop said. But Kevin knew the old man knew 
he was getting at something, which was why he sounded put out.
'Look at the shadow of the dog first,' Kevin said. 'Then look at this one here 
again.' He tapped the left side of the photograph. 'In the picture, the sun is 
either going down or coming up. That makes all the shadows long, and it's hard 
to tell what's throwing them. But looking at it, just now, it clicked home for 
me.'
'What clicked home, son?' Pop reached for the drawer, probably meaning to get 
the magnifying glass with the light in it again ... and then stopped. All at 
once he didn't need it. All at once it had clicked into place for him, too.
'It's the shadow of a man, ain't it?' Pop said. 'I be go to hell if that one 
ain't the shadow of a man.'
'Or a woman. You can't tell. Those are legs, I'm sure they are, but they could 
belong to a woman wearing pants. Or even a kid. With the shadow running so long 
-'
'Ayuh, you can't tell.'
Kevin said, 'It's the shadow of whoever took it, isn't it?'
'Ayuh.'
'But it wasn't me,' Kevin said. 'It came out of my camera - all of them did - 
but I didn't take it. So who did, Mr Merrill? Who did?'
'Call me Pop,' the old man said absently, looking at the shadow in the picture, 
and Kevin felt his chest swell with pleasure as those few clocks still capable 
of running a little fast began to signal the others that, weary as they might 
be, it was time to charge the half-hour.
CHAPTER 3
When Kevin arrived back at the Emporium Galorium with the photographs on Monday 
after school, the leaves had begun to turn color. He had been fifteen for almost 
two weeks and the novelty had worn off.
The novelty of that plinth, the supernatural, had not, but this wasn't anything 
he counted among his blessings. He had finished taking the schedule of 
photographs Pop had given him, and by the time he had, he had seen clearly - 
clearly enough, anyway - why Pop had wanted him to take them at intervals: the 
first ten on the hour, then let the camera rest, the second ten every two hours, 
and the third at three-hour intervals. He'd taken the last few that day at 
school. He had seen something else as well, something none of them could have 
seen at first; it was not clearly visible until the final three pictures. They 
had scared him so badly he had decided, even before taking the pictures to the 
Emporium Galorium, that he wanted to get rid of the Sun 660. Not exchange it; 
that was the last thing he wanted to do, because it would mean the camera would 
be out of his hands and hence out of his control. He couldn't have that.
It's mine, he had thought, and the thought kept recurring, but it wasn't a true 
thought. If it was - if the Sun only took pictures of the black breedless dog by 
the white picket fence when he, Kevin, was the one pushing the trigger - that 
would have been one thing. But that wasn't the case. Whatever the nasty magic 
inside the Sun might be, he was not its sole initiator. His father had taken the 
same (well, almost the same) picture, and so had Pop Merrill, and so had Meg 
when Kevin had let her take a couple of the pictures on Pop's carefully timed 
schedule.
'Did you number em, like I asked?' Pop asked when Kevin delivered them.
'Yes, one to fifty-eight,' Kevin said. He thumbed through the stack of 
photographs, showing Pop the small circled numbers in the lower lefthand corner 
of each. 'But I don't know if it matters. I've decided to get rid of the 
camera.'
'Get rid of it? That ain't what you mean.'
'No. I guess not. I'm going to break it up with a sledgehammer.'
Pop looked at him with those shrewd little eyes. 'That so?'
'Yes,' Kevin said, meeting the shrewd gaze steadfastly. 'Last week I would have 
laughed at the idea, but I'm not laughing now. I think the thing is dangerous.'
'Well, I guess you could be right, and I guess you could tape a charge of 
dynamite to it and blow it to smithereens if you wanted. It's yours, is what I 
mean to say. But why don't you hold off a little while? There's somethin I want 
to do with these pitchers. You might be interested.'
'What?'
'I druther not say,' Pop answered, 'case it don't turn out. But I might have 
somethin by the end of the week that'd help you decide better, one way or the 
other.'
'I have decided,' Kevin said, and tapped something that had shown up in the last 
two photographs.
'What is it?' Pop asked. 'I've looked at it with m'glass, and I feel like I 
should know what it is - it's like a name you can't quite remember but have 
right on the tip of your tongue, is what I mean to say - but I don't quite.'
'I suppose I could hold off until Friday or so,' Kevin said, choosing not to 
answer the old man's question. 'I really don't want to hold off much longer.'
'Scared?'
'Yes,' Kevin said simply. 'I'm scared.'
'You told your folks?'
'Not all of it, no.'
'Well, you might want to. Might want to tell your dad, anyway, is what I mean to 
say. You got time to think on it while I take care of what it is I want to take 
care of.'
'No matter what you want to do, I'm going to put my dad's sledgehammer on it 
come Friday,' Kevin said. 'I don't even want a camera anymore. Not a Polaroid or 
any other kind.'
'Where is it now?'
'In my bureau drawer. And that's where it's going to stay.'
'Stop by the store here on Friday,' Pop said. 'Bring the camera with you. We'll 
take a look at this little idear of mine, and then, if you want to bust the 
goddam thing up, I'll provide the sledgehammer myself. No charge. Even got a 
chopping block out back you can set it on.'
'That's a deal,' Kevin said, and smiled.
'Just what have you told your folks about all this?'
'That I'm still deciding. I didn't want to worry them. My mom, especially.' 
Kevin looked at him curiously. 'Why did you say I might want to tell my dad?'
'You bust up that camera, your father is going to be mad at you,' Pop said. 
'That ain't so bad, but he's maybe gonna think you're a little bit of a fool, 
too. Or an old maid, squallin burglar to the police on account of a creaky board 
is what I mean to say.'
Kevin flushed a little, thinking of how angry his father had gotten when the 
idea of the supernatural had come up, then sighed. He hadn't thought of it in 
that light at all, but now that he did, he thought Pop was probably right. He 
didn't like the idea of his father being mad at him, but he could live with it. 
The idea that his father might think him a coward, a fool, or both, though ... 
that was a different kettle of fish altogether.
Pop was watching him shrewdly, reading these thoughts as easily as a man might 
read the headlines on the front pages of a tabloid newspaper as they crossed 
Kevin's face.
'You think he could meet you here around four in the afternoon on Friday?'
'No way,' Kevin said. 'He works in Portland. He hardly ever gets home before 
six.'
'I'll give him a call, if you want,' Pop said. 'He'll come if I call.'
Kevin gave him a wide-eyed stare.
Pop smiled thinly. 'Oh, I know him,' he said. 'Know him of old. He don't like to 
let on about me any more than you do, and I understand that, but what I mean to 
say is I know him. I know a lot of people in this town. You'd be surprised, 
son.'
'How?'
'Did him a favor one time,' Pop said. He popped a match alight with his 
thumbnail, and veiled those eyes behind enough smoke so you couldn't tell if it 
was amusement, sentiment, or contempt in them.
'What kind of favor?'
'That,' Pop said, 'is between him and me. Just like this business here' - he 
gestured at the pile of photographs -'is between me and you. That's what I mean 
to say.'
'Well ... okay ... I guess. Should I say anything to him?'
'Nope!' Pop said in his chipper way. 'You let me take care of everything.' And 
for a moment, in spite of the obfuscating pipe-smoke, there was something in Pop 
Merrill's eyes Kevin Delevan didn't care for. He went out, a sorely confused boy 
who knew only one thing for sure: he wanted this to be over.
When he was gone, Pop sat silent and moveless for nearly five minutes. He 
allowed his pipe to go out in his mouth and drummed his fingers, which were 
nearly as knowing and talented as those of a concert violinist but masqueraded 
as equipment which should more properly have belonged to a digger of ditches or 
a pourer of cement, next to the stack of photographs. As the smoke dissipated, 
his eyes stood out clearly, and they were as cold as ice in a December puddle.
Abruptly he put the pipe in its holder and called a camera-and-video shop in 
Lewiston. He asked two questions. The answer to both of them was yes.
Pop hung up the phone and went back to drumming his fingers on the table beside 
the Polaroids. What he was planning wasn't really fair to the boy, but the boy 
had uncovered the corner of something he not only didn't understand but didn't 
want to understand.
Fair or not, Pop didn't believe he intended to let the boy do what the boy 
wanted to do. He hadn't decided what he himself meant to do, not yet, not 
entirely, but it was wise to be prepared.
That was always wise.
He sat and drummed his fingers and wondered what that thing was the boy had 
seen. He had obviously felt Pop would know - or might know - but Pop hadn't a 
clue. The boy might tell him on Friday. Or not. But if the boy didn't, the 
father, to whom Pop had once loaned four hundred dollars to cover a bet on a 
basketball game, a bet he had lost and which his wife knew nothing about, 
certainly would. If, that was, he could. Even the best of fathers didn't know 
all about their sons anymore once those sons were fifteen or so, but Pop thought 
Kevin was a very young fifteen, and that his dad knew most things ... or could 
find them out.
He smiled and drummed his fingers and all the clocks began to charge wearily at 
the hour of five.
CHAPTER 4
Pop Merrill turned the sign which hung in his door from OPEN to CLOSED at two 
o'clock on Friday afternoon, slipped himself behind the wheel of his 1959 
Chevrolet, which had been for years perfectly maintained at Sonny's Texaco at 
absolutely no cost at all (the fallout of another little loan, and Sonny Jackett 
another town fellow who would prefer hot coals pressed against the soles of his 
feet to admitting that he not only knew but was deeply indebted to Pop Merrill, 
who had gotten him out of a desperate scrape over in New Hampshire in '69), and 
took himself up to Lewiston, a city he hated because it seemed to him that there 
were only two streets in the whole town (maybe three) that weren't oneways. He 
arrived as he always did when Lewiston and only Lewiston would do: not by 
driving to it but arriving somewhere near it and then spiralling slowly inward 
along those beshitted one-way streets until he reckoned he was as close as he 
could get and then walking the rest of the way, a tall thin man with a bald 
head, rimless specs, clean khaki pants with creases and cuffs, and a blue 
workman's shirt buttoned right up to the collar.
There was a sign in the window of Twin City Camera and Video that showed a 
cartoon man who appeared to be battling a huge tangle of movie-film and losing. 
The fellow looked just about ready to blow his stack. The words over and under 
the picture read: TIRED OF FIGHTING? WE TRANSFER YOUR 8 MM MOVIES (SNAPSHOTS 
TOO!) ONTO VIDEO TAPE!
Just another goddam gadget, Pop thought, opening the door and going in. World's 
dying of em.
But he was one of those people - world's dying of em - not at all above using 
what he disparaged if it proved expedient. He spoke briefly with the clerk. The 
clerk got the proprietor. They had known each other for many years (probably 
since Homer sailed the wine-dark sea, some wits might have said). The proprietor 
invited Pop into the back room, where they shared a nip.
'That's a goddam strange bunch of photos,' the proprietor said.
'Ayuh.'
'The videotape I made of them is even stranger.'
'I bet so.'
'That all you got to say?'
'Ayuh.'
'Fuck ya, then,' the proprietor said, and they both cackled their shrill 
old-man's cackles. Behind the counter, the clerk winced.
Pop left twenty minutes later with two items: a video cassette, and a brand-new 
Polaroid Sun 660, still in its box.
When he got back to the shop, he called Kevin's house. He was not surprised when 
it was John Delevan who answered.
'If you've been fucking my boy over, I'll kill you, you old snake,' John Delevan 
said without preamble, and distantly Pop could hear the boy's wounded cry: 
'Da-ad!'
Pop's lips skinned back from his teeth - crooked, eroded, pipe-yellow, but his 
own, by the bald-headed Christ - and if Kevin had seen him in that moment he 
would have done more than wonder if maybe Pop Merrill was something other than 
the Castle Rock version of the Kindly Old Sage of the Crackerbarrel: he would 
have known.
'Now, John,' he said. 'I've been trying to help your boy with that camera. 
That's all in the world I've been trying to do.' He paused. 'Just like that one 
time I gave you a help when you got a little too proud of the Seventy-Sixers, is 
what I mean to say.'
A thundering silence from John Delevan's end of the line which meant he had 
plenty to say on that subject, but the kiddo was in the room and that was as 
good as a gag.
'Now, your kid don't know nothing about that,' Pop said, that nasty grin 
broadening in the tick-tock shadows of the Emporium Galorium, where the dominant 
smells were old magazines and mouse-turds. 'I told him it wasn't none of his 
business, just like I told him that this business here was. I wouldn't have even 
brought up that bet if I knew another way to get you here, is what I mean to 
say. And you ought to see what I've got, John, because if you don't you won't 
understand why the boy wants to smash that camera you bought him -'
'Smash it!' 
‘and why I think it's a hell of a good idea. Now are you going to come down here 
with him, or not?'
'I'm not in Portland, am I, dammit?'
'Never mind the CLOSED sign on the door,' Pop said in the serene tone of a man 
who has been getting his own way for many years and expects to go right on 
getting it for many more. 'Just knock.'
'Who in hell gave my boy your name, Merrill?'
'I didn't ask him,' Pop said in that same infuriatingly serene tone of voice, 
and hung up the telephone. And, to the empty shop: 'All I know is that he came. 
Just like they always do.'
While he waited, he took the Sun 660 he had bought in Lewiston out of its box 
and buried the box deep in the trash-can beside his worktable. He looked at the 
camera thoughtfully, then loaded the four-picture starter-pack that came with 
the camera. With that done, he unfolded the body of the camera, exposing the 
lens. The red light to the left of the lightning-bolt shape came on briefly, and 
then the green one began to stutter. Pop was not very surprised to find he was 
filled with trepidation. Well, he thought, God hates a coward, and pushed the 
shutter-release. The clutter of the Emporium Galorium's barnlike interior was 
bathed in an instant of merciless and improbable white light. The camera made 
its squidgy little whine and spat out what would be a Polaroid picture - 
perfectly adequate but somehow lacking; a picture that was all surfaces 
depicting a world where ships undoubtedly would sail off the fuming and 
monster-raddled edge of the earth if they went far enough west.
Pop watched it with the same mesmerized expression Clan Delevan had worn as it 
waited for Kevin's first picture to develop. He told himself this camera would 
not do the same thing, of course not, but he was stiff and wiry with tension 
just the same and, tough old bird or not, if a random board had creaked in the 
place just then, he almost certainly would have cried out.
But no board did creak, and when the picture developed it showed only what it 
was supposed to show: clocks assembled, clocks in pieces, toasters. stacks of 
magazines tied with twine, lamps with shades so horrible only women of the 
British upper classes could truly love them, shelves of quarter paperbacks (six 
for a buck) with titles like After Dark My Sweet and Fire in the Flesh and The 
Brass Cupcake, and, in the distant background, the dusty front window. You could 
read the letters EMPOR backward before the bulky silhouette of a bureau blocked 
off the rest.
No hulking creature from beyond the grave; no knife-wielding doll in blue 
overalls. just a camera. He supposed the whim which had caused him to take a 
picture in the first place, just to see, showed how deeply this thing had worked 
its way under his skin.
Pop sighed and buried the photograph in the trash-can. He opened the wide drawer 
of the worktable and took out a small hammer. He held the camera firmly in his 
left hand and then swung the hammer on a short arc through the dusty tick-tock 
air. He didn't use a great deal of force. There was no need. Nobody took any 
pride in workmanship anymore. They talked about the wonders of modern science, 
synthetics, new alloys, polymers, Christ knew what. It didn't matter. Snot. That 
was what everything was really made out of these days, and you didn't have to 
work very hard to bust a camera that was made of snot.
The lens shattered. Shards of plastic flew from around it. and that reminded Pop 
of something else. Had it been the left or right side? He frowned. Left. He 
thought. They wouldn't notice anyway, or remember which side themselves if they 
did, you could damn near take that to the bank, but Pop hadn't feathered his 
nest with damn-nears. It was wise to be prepared.
Always wise.
He replaced the hammer. used a small brush to sweep the broken chunks of glass 
and plastic off the table and onto the floor, then returned the brush and took 
out a grease-pencil with a fine tip and an X-Act-O knife. He drew what he 
thought was the approximate shape of the piece of plastic which had broken off 
Kevin Delevan's Sun when Meg knocked it on the floor, then used the X-Act-O to 
carve along the lines. When he thought he had dug deep enough into the plastic, 
he put the X-Act-O back in the drawer, and then knocked the Polaroid camera off 
the worktable. What had happened once ought to happen again, especially with the 
fault-lines he had pre-carved.
It worked pretty slick, too. He examined the camera, which now had a chunk of 
plastic gone from the side as well as a busted lens, nodded, and placed it in 
the deep shadow under the worktable. Then he found the piece of plastic that had 
split off from the camera, and buried it in the trash along with the box and the 
single exposure he had taken.
Now there was nothing to do but wait for the Delevans to arrive. Pop took the 
video cassette upstairs to the cramped little apartment where he lived. He put 
it on top of the VCR he had bought to watch the fuck-movies you could buy 
nowadays, then sat down to read the paper. He saw there had been a plane-crash 
in Pakistan. A hundred and thirty people killed. Goddam fools were always 
getting themselves killed, Pop thought, but that was all right. A few less 
woggies in the world was a good thing all around. Then he turned to the sports 
to see how the Red Sox had done. They still had a good chance of winning the 
Eastern Division.
CHAPTER 5
'What was it?' Kevin asked as they prepared to go. They had the house to 
themselves. Meg was at her ballet class, and it was Mrs Delevan's day to play 
bridge with her friends. She would come home at five with a large loaded pizza 
and news of who was getting divorced or at least thinking of it.
'None of your business,' Mr Delevan said in a rough voice which was both angry 
and embarrassed.
The day was chilly. Mr Delevan had been looking for his fight jacket. Now he 
stopped and turned around and looked at his son, who was standing behind him, 
wearing his own jacket and holding the Sun camera in one hand.
'All right,' he said. 'I never pulled that crap on you before and I guess I 
don't want to start now. You know what I mean.'
'Yes,' Kevin said, and thought: I know exactly what you're talking about, is 
what I mean to say.
'Your mother doesn't know anything about this.'
'I won't tell her.'
'Don't say that,' his father told him sharply. 'Don't start down that road or 
you'll never stop.'
'But you said you never-'
'No, I never told her,' his father said, finding the jacket at last and 
shrugging into it. 'She never asked and I never told her. If she never asks you, 
you never have to tell her. That sound like a bullshit qualification to you?'
'Yeah,' Kevin said. 'To tell you the truth, it does.'
'Okay,' Mr Delevan said. 'Okay ... but that's the way we do it. If the subject 
ever comes up, you - we - have to tell. If it doesn't, we don't. That's just the 
way we do things in the grown-up world. It sounds fucked up, I guess, and 
sometimes it is fucked up, but that's how we do it. Can you live with that?'
'Yes. I guess so.'
'Good. Let's go.'
They walked down the driveway side by side, zipping their jackets. The wind 
played with the hair at John Delevan's temples, and Kevin noted for the first 
time - with uneasy surprise - that his father was starting to go gray there.
'It was no big deal, anyway,' Mr Delevan said. He might almost have been talking 
to himself. 'It never is with Pop Merrill. He isn't a big-deal kind of guy, if 
you know what I mean.'
Kevin nodded.
'He's a fairly wealthy man, you know, but that junk-shop of his isn't the reason 
why. He's Castle Rock's version of Shylock.'
'Of who?'
'Never mind. You'll read the play sooner or later if education hasn't gone 
entirely to hell. He loans money at interest rates that are higher than the law 
allows.'
'Why would people borrow from him?' Kevin asked as they walked toward downtown 
under trees from which leaves of red and purple and gold sifted slowly down.
'Because,' Mr Delevan said sourly, 'they can't borrow anyplace else.'
'You mean their credit's no good?'
'Something like that.'
'But we ... you . . .'
'Yeah. We're doing all right now. But we weren't always doing all right. When 
your mother and I were first married, how we were doing was all the way across 
town from all right.'
He fell silent again for a time, and Kevin didn't interrupt him.
'Well, there was a guy who was awful proud of the Celtics one year,' his father 
said. He was looking down at his feet, as if afraid to step on a crack and break 
his mother's back. 'They were going into the play-offs against the Philadelphia 
Seventy-Sixers. They - the Celtics - were favored to win, but by a lot less than 
usual. I had a feeling the Seventy-Sixers were going to take them, that it was 
their year.'
He looked quickly at his son, almost snatching the glance as a shoplifter might 
take a small but fairly valuable item and tuck it into his coat, and then went 
back to minding the cracks in the sidewalk again. They were now walking down 
Castle Hill and toward the town's single signal-fight at the crossing of Lower 
Main Street and Watermill Lane. Beyond the intersection, what locals called the 
Tin Bridge crossed Castle Stream. Its overstructure cut the deep-blue autumn sky 
into neat geometrical shapes.
'I guess it's that feeling, that special sureness, that infects the poor souls 
who lose their bank accounts, their houses, their cars, even the clothes they 
stand up in at casinos and back-room poker games. That feeling that you got a 
telegram from God. I only got it that once, and I thank God for that.
'In those days I'd make a friendly bet on a football game or the World Series 
with somebody, five dollars was the most, I think, and usually it was a lot less 
than that, just a token thing, a quarter or maybe a pack of cigarettes.'
This time it was Kevin who shoplifted a glance, only Mr Delevan caught it, 
cracks in the sidewalk or no cracks.
'Yes, I smoked in those days, too. Now I don't smoke and I don't bet. Not since 
that last time. That last time cured me.
'Back then your mother and I had only been married two years. You weren't born 
yet. I was working as a surveyor's assistant, bringing home just about a hundred 
and sixteen dollars a week. Or that was what I cleared, anyway, when the 
government finally let go of it.
'This fellow who was so proud of the Celtics was one of the engineers. He even 
wore one of those green Celtics warm-up jackets to work, the kind that have the 
shamrock on the back. The week before the play-offs, he kept saying he'd like to 
find someone brave enough and stupid enough to bet on the Seventy-Sixers, 
because he had four hundred dollars just waiting to catch him a dividend.
'That voice inside me kept getting louder and louder, and the day before the 
championship series started, I went up to him on lunch-break. My heart felt like 
it was going to tear right out of my chest, I was so scared.'
'Because you didn't have four hundred dollars,' Kevin said. 'The other guy did, 
but you didn't.' He was looking at his father openly now, the camera completely 
forgotten for the first time since his first visit to Pop Merrill. The wonder of 
what the Sun 660 was doing was lost - temporarily, anyway - in this newer, 
brighter wonder: as a young man his father had done something spectacularly 
stupid, just as Kevin knew other men did, just as he might do himself someday, 
when he was on his own and there was no adult member of the Reasonable tribe to 
protect him from some terrible impulse, some misbegotten instinct. His father, 
it seemed, had briefly been a member of the Instinctive tribe himself. It was 
hard to believe, but wasn't this the proof?
'Right.'
'But you bet him.'
'Not right away,' his father said. 'I told him I thought the Seventy-Sixers 
would take the championship, but four hundred bucks was a lot to risk for a guy 
who was only a surveyor's assistant.'
'But you never came right out and told him you didn't have the money.'
'I'm afraid it went a little further than that, Kevin. I implied I did have it. 
I said I couldn't afford to lose four hundred dollars, and that was 
disingenuous, to say the least. I told him I couldn't risk that kind of money on 
an even bet - still not lying, you see, but skating right up to the edge of the 
lie. Do you see?'
'Yes.'
'I don't know what would have happened - maybe nothing - if the foreman hadn't 
rung the back-to-work bell right then. But he did, and this engineer threw up 
his hands and said, "I'll give you two-to-one, sonny, if that's what you want. 
It don't matter to me. It's still gonna be four hundred in my pocket." And 
before I knew what was happening we'd shook on it with half a dozen men watching 
and I was in the soup, for better or worse. And going home that night I thought 
of your mother, and what she'd say if she knew, and I pulled over to the 
shoulder of the road in the old Ford I had back then and I puked out the door.'
A police car came rolling slowly down Harrington Street. Norris Ridgewick was 
driving and Andy Clutterbuck was riding shotgun. Clut raised his hand as the 
cruiser turned left on Main Street. John and Kevin Delevan raised their hands in 
return, and autumn drowsed peacefully around them as if John Delevan had never 
sat in the open door of his old Ford and puked into the road-dust between his 
own feet.
They crossed Main Street.
'Well ... you could say I got my money's worth, anyway. The Sixers took it right 
to the last few seconds of the seventh game, and then one of those Irish 
bastards - I forget which one it was - stole the ball from Hal Greer and went to 
the hole with it and there went the four hundred dollars I didn't have. When I 
paid that goddam engineer off the next day he said he "got a little nervous 
there near the end." That was all. I could have popped his eyes out with my 
thumbs.'
'You paid him off the next day? How'd you do that?'
'I told you, it was like a fever. Once we shook hands on the bet, the fever 
passed. I hoped like hell I'd win that bet, but I knew I'd have to think like I 
was going to lose. There was a lot more at stake than just four hundred dollars. 
There was the question of my job, of course, and what might happen if I wasn't 
able to pay off the guy I'd bet with. He was an engineer, after all, and 
technically my boss. That fellow had just enough son of a bitch in him to have 
fired my ass if I didn't pay the wager. It wouldn't have been the bet, but he 
would have found something, and it would have been something that would go on my 
work-record in big red letters, too. But that wasn't the biggest thing. Not at 
all.'
'What was?'
'Your mother. Our marriage. When you're young and don't have either a pot to 
piss in or a window to throw it out of, a marriage is under strain all the time. 
It doesn't matter how much you love each other, that marriage is like an 
overloaded packhorse and you know it can fall to its knees or even roll over 
dead if all the wrong things happen at all the wrong times. I don't think she 
would have divorced me over a four-hundred-dollar bet, but I'm glad I never had 
to find out for sure. So when the fever passed, I saw that I might have bet a 
little more than four hundred dollars. I might just have bet my whole goddam 
future.'
They were approaching the Emporium Galorium. There was a bench on the verge of 
the grassy town common, and Mr Delevan gestured for Kevin to sit down.
'This won't take long,' he said, and then laughed. It was a grating, compressed 
sound, like an inexperienced driver working a transmission lever. 'It hurts too 
much to stretch out, even after all these years.'
So they sat on the bench and Mr Delevan finished the story of how he happened to 
know Pop Merrill while they looked across the grassy common with the bandstand 
in the middle.
'I went to him the same night I made the bet,' he said. 'I told your mother I 
was going out for cigarettes. I went after dark, so no one would see me. From 
town, I mean. They would have known I was in some kind of trouble, and I didn't 
want that. I went in and Pop said, "What's a professional man like you doing in 
a place like this, Mr John Delevan?" and I told him what I'd done and he said, 
"You made a bet and already you have got your head set to the idea you've lost 
it." "If I do lose it," I said, "I want to make sure I don't lose anything 
else."
'That made him laugh. "I respect a wise man," he said. "I reckon I can trust 
you. If the Celtics win, you come see me. I'll take care of you. You got an 
honest face.'
'And that was all?' Kevin asked. In eighth-grade math, they had done a unit on 
loans, and he still remembered most of it. 'He didn't ask for any, uh, 
collateral?'
'People who go to Pop don't have collateral,' his father said. 'He's not a 
loan-shark like you see in the movies; he doesn't break any legs if you don't 
pay up. But he has ways of fixing people.'
'What ways?'
'Never mind,' John Delevan said. 'After that last game ended, I went upstairs to 
tell your mother I was going to go out for cigarettes - again. She was asleep, 
though, so I was spared that lie. It was late, late for Castle Rock, anyway, 
going on eleven, but the lights were on in his place. I knew they would be. He 
gave me the money in tens. He took them out of an old Crisco can. All tens. I 
remember that. They were crumpled but he had made them straight. Forty 
ten-dollar bills, him counting them out like a bank-clerk with that pipe going 
and his glasses up on his head and for just a second there I felt like knocking 
his teeth out. Instead I thanked him. You don't know how hard it can be to say 
thank you sometimes. I hope you never do. He said, "You understand the terms, 
now, don't you?" and I said I did, and he said, "That's good. I ain't worried 
about you. What I mean to say is you got an honest face. You go on and take care 
of your business with that fella at work, and then take care of your business 
with me. And don't make any more bets. Man only has to look in your face to see 
you weren't cut out to be a gambler. " So I took the money and went home and put 
it under the floor-mat of the old Chevy and lay next to your mother and didn't 
sleep a wink all night long because I felt filthy. Next day I gave the tens to 
the engineer I bet with, and he counted them out, and then he just folded them 
over and tucked them into one of his shirt pockets and buttoned the flap like 
that cash didn't mean any more than a gas receipt he'd have to turn in to the 
chief contractor at the end of the day. Then he clapped me on the shoulder and 
said, "Well, you're a good man, Johnny. Better than I thought. I won four 
hundred but I lost twenty to Bill Untermeyer. He bet you'd come up with the 
dough first thing this morning and I bet him I wouldn't see it till the end of 
the week. If I ever did." "I pay my debts," I said. "Easy, now," he said, and 
clapped me on the shoulder again, and I think that time I really did come close 
to popping his eyeballs out with my thumbs.'
'How much interest did Pop charge you, Dad?'
His father looked at him sharply. 'Does he let you call him that?'
'Yeah, why?'
'Watch out for him, then,' Mr Delevan said. 'He's a snake.'
Then he sighed, as if admitting to both of them that he was begging the 
question, and knew it. 'Ten per cent. That's what the interest was.'
'That's not so m -'
'Compounded weekly,' Mr Delevan added.
Kevin sat struck dumb for a moment. Then: 'But that's not legal!'
'How true,' Mr Delevan said dryly. He looked at the strained expression of 
incredulity on his son's face and his own strained look broke. He laughed and 
clapped his son on the shoulder. 'It's only the world, Kev,' he said. 'It kills 
us all in the end, anyhow.'
'But -'
'But nothing. That was the freight, and he knew I'd pay it. I knew they were 
hiring on the three-to-eleven shift at the mill over in Oxford. I told you I'd 
gotten myself ready to lose, and going to Pop wasn't the only thing I did. I'd 
talked to your mother, said I might take a shift over there for awhile. After 
all, she'd been wanting a newer car, and maybe to move to a better apartment, 
and get a little something into the bank in case we had some kind of financial 
setback.'
He laughed.
'Well, the financial setback had happened, and she didn't know it, and I meant 
to do my damnedest to keep her from finding out. I didn't know if I could or 
not, but I meant to do my damnedest. She was dead set against it. She said I'd 
kill myself, working sixteen hours a day. She said those mills were dangerous, 
you were always reading about someone losing an arm or leg or even getting 
crushed to death under the rollers. I told her not to worry, I'd get a job in 
the sorting room, minimum wage but sit-down job, and if it really was too much, 
I'd give it up. She was still against it. She said she'd go to work herself, but 
I talked her out of that. That was the last thing I wanted, you know.'
Kevin nodded.
'I told her I'd quit in six months, eight at the outside, anyway. So I went up 
and they hired me on, but not in the sorting room. I got a job in the rolling 
shed, feeding raw stock into a machine that looked like the wringer on a giant's 
washing machine. It was dangerous work, all right; if you slipped or if your 
attention wandered - and it was hard to keep that from happening because it was 
so damned monotonous - you'd lose part of yourself or all of it. I saw a man 
lose his hand in a roller once and I never want to see anything like that again. 
It was like watching a charge of dynamite go off in a rubber glove stuffed with 
meat.'
'God-damn,' Kevin said. He had rarely said that in his father's presence, but 
his father did not seem to notice.
'Anyway, I got two dollars and eighty cents an hour, and after two months they 
bumped me to three ten,' he said. 'It was hell. I'd work on the road project all 
day long - at least it was early spring and not hot - and then race off to the 
mill, pushing that Chevy for all it was worth to keep from being late. I'd take 
off my khakis and just about jump into a pair of blue-jeans and a tee-shirt and 
work the rollers from three until eleven. I'd get home around midnight and the 
worst part was the nights when your mother waited up - which she did two or 
three nights a week - and I'd have to act cheery and full of pep when I could 
hardly walk a straight line, I was so tired. But if she'd seen that -'
'She would have made you stop.'
'Yes. She would. So I'd act bright and chipper and tell her funny stories about 
the sorting room where I wasn't working and sometimes I'd wonder what would 
happen if she ever decided to drive up some night to give me a hot dinner, or 
something like that. I did a pretty good job, but some of it must have showed, 
because she kept telling me I was silly to be knocking myself out for so little 
- and it really did seem like chicken-feed once the government dipped their beak 
and Pop dipped his. It seemed like just about what a fellow working in the 
sorting room for minimum wage would clear. They paid Wednesday afternoons, and I 
always made sure to cash my check in the office before the girls went home.
'Your mother never saw one of those checks.
'The first week I paid Pop fifty dollars - forty was interest, and ten was on 
the four hundred, which left three hundred and ninety owing. I was like a 
walking zombie. On the road job I'd sit in my car at lunch, eat my sandwich, and 
then sleep until the foreman rang his goddamned bell. I hated that bell.
'I paid him fifty dollars the second week - thirty-nine was interest, eleven was 
on the principal - and I had it down to three hundred and seventy-nine dollars. 
I felt like a bird trying to eat a mountain one peck at a time.
'The third week I almost went into the roller myself, and it scared me so bad I 
woke up for a few minutes - enough to have an idea, anyway, so I guess it was a 
blessing in disguise. I had to give up smoking. I couldn't understand why I 
hadn't seen it before. In those days a pack of smokes cost forty cents. 
I smoked two packs a day. That was five dollars and sixty cents a week!
'We had a cigarette break every two hours and I looked at my pack of Tareytons 
and saw I had ten, maybe twelve. I made those cigarettes last a week and a half, 
and I never bought another pack.
'I spent a month not knowing if I could make it or not. There were days when the 
alarm went off at six o'clock and I knew I couldn't, that I'd just have to tell 
Mary and take whatever she wanted to dish out. But by the time the second month 
started, I knew I was probably going to be all right. I think to this day it was 
the extra five sixty a week - that, and all the returnable beer and soda bottles 
I could pick up along the sides of the road - that made the difference. I had 
the principal down to three hundred, and that meant I could knock off 
twenty-five, twenty-six dollars a week from it, more as time went on.
'Then, in late April, we finished the road project and got a week off, with pay. 
I told Mary I was getting ready to quit my job at the mill and she said thank 
God, and I spent that week off from my regular job working all the hours I could 
get at the mill, because it was time and a half. I never had an accident. I saw 
them, saw men fresher and more awake than I was have them, but I never did. I 
don't know why. At the end of that week I gave Pop Merrill a hundred dollars and 
gave my week's notice at the paper mill. After that last week I had whittled the 
nut down enough so I could chip the rest off my regular pay-check without your 
mother noticing.'
He fetched a deep sigh.
'Now you know how I know Pop Merrill, and why I don't trust him. I spent ten 
weeks in hell and he reaped the sweat off my forehead and my ass, too, in 
ten-dollar bills that he undoubtedly took out of that Crisco can or another one 
and passed on to some other sad sack who had got himself in the same kind of 
mess I did.'
'Boy, you must hate him.'
'No,' Mr Delevan said, getting up. 'I don't hate him and I don't hate myself. I 
got a fever, that's all. It could have been worse. My marriage could have died 
of it, and you and Meg never would have been born ' Kevin. Or I might have died 
of it myself. Pop Merrill was the cure. He was a hard cure, but he worked. 
What's hard to forgive is how he worked. He took every damned cent and wrote it 
down in a book in a drawer under his cash register and looked at the circles 
under my eyes and the way my pants had gotten a way of hanging off my hip-bones 
and he said nothing.'
They walked toward the Emporium Galorium, which was painted the dusty faded 
yellow of signs left too long in country store windows, its false front both 
obvious and unapologetic. Next to it, Polly Chalmers was sweeping her walk and 
talking to Alan Pangborn, the county sheriff. She looked young and fresh with 
her hair pulled back in a horsetail; he looked young and heroic in his neatly 
pressed uniform. But things were not always the way they looked; even Kevin, at 
fifteen, knew that. Sheriff Pangborn had lost his wife and youngest son in a car 
accident that spring, and Kevin had heard that Ms Chalmers, young or not, had a 
bad case of arthritis and might be crippled up with it before too many more 
years passed. Things were not always the way they looked. This thought caused 
him to glance toward the Emporium Galorium again ... and then to look down at 
his birthday camera, which he was carrying in his hand.
'He even did me a favor,' Mr Delevan mused. 'He got me to quit smoking. But I 
don't trust him. Walk careful around him, Kevin. And no matter what, let me do 
the talking. I might know him a little better now.'
So they went into the dusty ticking silence, where Pop Merrill waited for them 
by the door, with his glasses propped on the bald dome of his head and a trick 
or two still up his sleeve.
CHAPTER 6
'Well, and here you are, father and son,' Pop said, giving them an admiring, 
grandfatherly smile. His eyes twinkled behind a haze of pipe-smoke and for a 
moment, although he was clean-shaven, Kevin thought Pop looked like Father 
Christmas. 'You've got a fine boy, Mr Delevan. Fine.'
'I know,' Mr Delevan said. 'I was upset when I heard he'd been dealing with you 
because I want him to stay that way.'
'That's hard,' Pop said, with the faintest touch of reproach. 'That's hard comin 
from a man who when he had nowhere else to turn
'That's over,' Mr Delevan said.
'Ayuh, ayuh, that's just what I mean to say.'
'But this isn't.'
'It will be,' Pop said. He held a hand out to Kevin and Kevin gave him the Sun 
camera. 'It will be today.' He held the camera up, turning it over in his hands. 
'This is a piece of work. What kind of piece I don't know, but your boy wants to 
smash it because he thinks it's dangerous. I think he's right. But I told him, 
"You don't want your daddy to think you're a sissy, do you?" That's the only 
reason I had him ho you down here, John -'
'I liked "Mr Delevan" better.'
'All right,' Pop said, and sighed. 'I can see you ain't gonna warm up none and 
let bygones be bygones.'
'No.'
Kevin looked from one man to the other, his face distressed.
'Well, it don't matter,' Pop said; both his voice and face went cold with 
remarkable suddenness, and he didn't look like Father Christmas at all. 'When I 
said the past is the past and what's done is done, I meant it ... except when it 
affects what people do in the here and now. But I'm gonna say this, Mr Delevan: 
I don't bottom deal, and you know it.'
Pop delivered this magnificent lie with such flat coldness that both of them 
believed it; Mr Delevan even felt a little ashamed of himself, as incredible as 
that was.
'Our business was our business. You told me what you wanted, I told you what I'd 
have to have in return, and you give it to me, and there was an end to it. This 
is another thing.' And then Pop told a lie even more magnificent, a he which was 
simply too towering to be disbelieved. 'I got no stake in this, Mr Delevan. 
There is nothing I want but to help your boy. I like him.'
He smiled and Father Christmas was back so fast and strong that Kevin forgot he 
had ever been gone. Yet more than this: John Delevan, who had for months worked 
himself to the edge of exhaustion and perhaps even death between the rollers in 
order to pay the exorbitant price this man demanded to atone for a momentary 
lapse into insanity - John Delevan forgot that other expression, too.
Pop led them along the twisting aisles, through the smell of dead newsprint and 
past the tick-tock clocks, and he put the Sun 660 casually down on the worktable 
a little too near the edge (just as Kevin had done in his own house after taking 
that first picture) and then just went on toward the stairs at the back which 
led up to his little apartment. There was a dusty old mirror propped against the 
wall back there, and Pop looked into it, watching to see if the boy or his 
father would pick the camera up or move it further away from the edge. He didn't 
think either would, but it was possible.
They spared it not so much as a passing glance and as Pop led them up the narrow 
stairway with the ancient eroded rubber treads he grinned in a way it would have 
been bad business for anyone to see and thought, Damn, I'm good!
He opened the door and they went into the apartment.
Neither John nor Kevin Delevan had ever been in Pop's private quarters, and John 
knew of no one who had. In a way this was not surprising; no one was ever going 
to nominate Pop as the town's number-one citizen. John thought it was not 
impossible that the old fuck had a friend or two - the world never exhausted its 
oddities, it seemed - but if so, he didn't know who they were.
And Kevin spared a fleeting thought for Mr Baker, his favorite teacher. He 
wondered if, perchance, Mr Baker had ever gotten into the sort of crack he'd 
need a fellow like Pop to get him out of. This seemed as unlikely to him as the 
idea of Pop having friends seemed to his father ... but then, an hour ago the 
idea that his own father ...
Well. It was best let go, perhaps.
Pop did have a friend (or at least an acquaintance) or two, but he didn't bring 
them here. He didn't want to. It was his place, and it came closer to revealing 
his true nature than he wanted anyone to see. It struggled to be neat and 
couldn't get there. The wallpaper was marked with water-stains; they weren't 
glaring, but stealthy and brown, like the phantom thoughts that trouble anxious 
minds. There were crusty dishes in the old-fashioned deep sink, and although the 
table was clean and the lid on the plastic waste-can was shut, there was an odor 
of sardines and something else - unwashed feet, maybe - which was almost not 
there. An odor as stealthy as the water-stains on the wallpaper.
The living room was tiny. Here the smell was not of sardines and (maybe) feet 
but of old pipe-smoke. Two windows looked out on nothing more scenic than the 
alley that ran behind Mulberry Street, and while their panes showed some signs 
of having been washed - at least swiped at occasionally - the corners were 
bleared and greasy with years of condensed smoke. The whole place had an air of 
nasty things swept under the faded hooked rugs and hidden beneath the 
old-fashioned, overstuffed easy-chair and sofa. Both of these articles were 
light green, and your eye wanted to tell you they matched but couldn't, because 
they didn't. Not quite.
The only new things in the room were a large Mitsubishi television with a 
twenty-five-inch screen and a VCR on the endtable beside it. To the left of the 
endtable was a rack which caught Kevin's eye because it was totally empty. Pop 
had thought it best to put the better than seventy fuck-movies he owned in the 
closet for the time being.
One video cassette rested on top of the television in an unmarked case.
'Sit down,' Pop said, gesturing at the lumpy couch. He went over to the TV and 
slipped the cassette out of its case.
Mr Delevan looked at the couch with a momentary expression of doubt, as if he 
thought it might have bugs, and then sat down gingerly. Kevin sat beside him. 
The fear was back, stronger than ever.
Pop turned on the VCR, slid the cassette in, and then pushed the carriage down. 
'I know a fellow up the city,' he began (to residents of Castle Rock and its 
neighboring towns, 'up the city' always meant Lewiston), 'who's run a camera 
store for twenty years or so. He got into the VCR business as soon as it started 
up, said it was going to be the wave of the future. He wanted me to go halves 
with him, but I thought he was nuts. Well, I was wrong on that one, is what I 
mean to say, but -'
'Get to the point,' Kevin's father said.
'I'm tryin,' Pop said, wide-eyed and injured. 'If you'll let me.'
Kevin pushed his elbow gently against his father's side, and Mr Delevan said no 
more.
'Anyway, a couple of years ago he found out rentin tapes for folks to watch 
wasn't the only way to make money with these gadgets. If you was willing to lay 
out as little as eight hundred bucks, you could take people's movies and 
snapshots and put em on a tape for em. Lots easier to watch.'
Kevin made a little involuntary noise and Pop smiled and nodded.
'Ayuh. You took fifty-eight pitchers with that camera of yours, and we all saw 
each one was a little different than the last one, and I guess we knew what it 
meant, but I wanted to see for myself. You don't have to be from Missouri to say 
show me, is what I mean to say.'
'You tried to make a movie out of those snapshots?' Mr Delevan asked.
'Didn't try,' Pop said. 'Did. Or rather, the fella I know up the city did. But 
it was my idea.'
'Is it a movie?' Kevin asked. He understood what Pop had done, and part of him 
was even chagrined that he hadn't thought of it himself, but mostly he was awash 
in wonder (and delight) at the idea.
'Look for yourself,' Pop said, and turned on the TV. 'Fifty-eight pitchers. When 
this fella does snapshots for folks, he generally videotapes each one for five 
seconds - long enough to get a good look, he says, but not long enough to get 
bored before you go on to the next one. I told him I wanted each of these on for 
just a single second, and to run them right together with no fades.'
Kevin remembered a game he used to play in grade school when he had finished 
some lesson and had free time before the next one began. He had a little dime 
pad of paper which was called a Rain-Bo Skool Pad because there would be thirty 
pages of little yellow sheets, then thirty pages of little pink sheets, then 
thirty pages of green, and so on. To play the game, you went to the very last 
page and at the bottom you drew a stick-man wearing baggy shorts and holding his 
arms out. On the next page you drew the same stick-man in the same place and 
wearing the same baggy shorts, only this time you drew his arms further up ... 
but just a little bit. You did that on every page until the arms came together 
over the stick-man's head. Then, if you still had time, you went on drawing the 
stick-man, but now with the arms going down. And if you flipped the pages very 
fast when you were done, you had a crude sort of cartoon which showed a boxer 
celebrating a KO: he raised his hands over his head, clasped them, shook them, 
lowered them.
He shivered. His father looked at him. Kevin shook his head and murmured, 
'Nothing.'
'So what I mean to say is the tape only runs about a minute,' Pop said. 'You got 
to look close. Ready?'
No, Kevin thought.
'I guess so,' Mr Delevan said. He was still trying to sound grumpy and put-out, 
but Kevin could tell he had gotten interested in spite of himself.
'Okay,' Pop Merrill said, and pushed the PLAY button.
Kevin told himself over and over again that it was stupid to feel scared. He 
told himself this and it didn't do a single bit of good.
He knew what he was going to see, because he and Meg had both noticed the Sun 
was doing something besides simply reproducing the same image over and over, 
like a photocopier; it did not take long for them to realize that the 
photographs were expressing movement from one to the next.
'Look,' Meg had said. 'The dog's moving!'
Instead of responding with one of the friendly-but-irritating wisecracks he 
usually reserved for his little sister, Kevin had said, 'It does look like it 
... but you can't tell for sure, Meg.'
'Yes, you can,' she said. They were in his room, where he had been morosely 
looking at the camera. It sat on the middle of his desk with his new 
schoolbooks, which he had been meaning to cover, pushed to one side. Meg had 
bent the goose-neck of his study-lamp so it shone a bright circle of light on 
the middle of his desk blotter. She moved the camera aside and put the first 
picture - the one with the dab of cake-frosting on it - in the center of the 
light. 'Count the fence-posts between the dog's behind and the righthand edge of 
the picture,' she said.
'Those are pickets, not fence-posts,' he told her. 'Like what you do when your 
nose goes on strike.'
'Ha-ha. Count them.'
He did. He could see four, and part of a fifth, although the dog's scraggly 
hindquarters obscured most of that one.
'Now look at this one.'
She put the fourth Polaroid in front of him. Now he could see all of the fifth 
picket, and part of a sixth.
So he knew - or believed - he was going to see a cross between a very old 
cartoon and one of those 'flip-books' he used to make in grammar school when the 
time weighed heavy on his hands.
The last twenty-five seconds of the tape were indeed like that, although, Kevin 
thought, the flip-books he had drawn in the second grade were really better ... 
the perceived action of the boxer raising and lowering his hands smoother. In 
the last twenty-five seconds of the videotape the action moved in rams and jerks 
which made the old Keystone Kops silent films look like marvels of modern 
filmmaking in comparison.
Still, the key word was action, and it held all of them - even Pop - spellbound. 
They watched the minute of footage three times without saying a word. There was 
no sound but breathing: Kevin's fast and smooth through his nose, his father's 
deeper, Pop's a phlegmy rattle in his narrow chest.
And the first thirty seconds or so ...
He had expected action, he supposed; there was action in the flip-books, and 
there was action in the Saturday-morning cartoons, which were just a slightly 
more sophisticated version of the flip-books, but what he had not expected was 
that for the first thirty seconds of the tape it wasn't like watching notebook 
pages rapidly thumbed or even a primitive cartoon like Possible Possum on TV: 
for thirty seconds (twenty-eight, anyway), his single Polaroid photographs 
looked eerily like a real movie. Not a Hollywood movie, of course, not even a 
low-budget horror movie of the sort Megan sometimes pestered him to rent for 
their own VCR when their mother and father went out for the evening; it was more 
like a snippet of home movie made by someone who has just gotten an 
eight-millimeter camera and doesn't know how to use it very well yet.
In those first twenty-eight seconds, the black no-breed dog walked with barely 
perceptible jerks along the fence, exposing five, six, seven pickets; it even 
paused to sniff a second time at one of them, apparently reading another of 
those canine telegrams. Then it walked on, head down and toward the fence, 
hindquarters switched out toward the camera. And, halfway through this first 
part, Kevin noted something else he hadn't seen before: the photographer had 
apparently swung his camera to keep the dog in the frame. If he (or she) hadn't 
done so, the dog would have simply walked out of the picture, leaving nothing to 
look at but the fence. The pickets at the far right of the first two or three 
photographs disappeared beyond the righthand border of the picture and new 
pickets appeared at the left. You could tell, because the tip of one of those 
two rightmost pickets had been broken off. Now it was no longer in the frame.
The dog started to sniff again ... and then its head came up. Its good ear 
stiffened; the one which had been slashed and laid limp in some long-ago fight 
tried to do the same. There was no sound, but Kevin felt with a certainty beyond 
repudiation that the dog had begun to growl. The dog had sensed something or 
someone. What or who?
Kevin looked at the shadow they had at first dismissed as the branch of a tree 
or maybe a phone-pole and knew.
Its head began to turn ... and that was when the second half of this strange 
'film' began, thirty seconds of snap-jerk action that made your head ache and 
your eyeballs hot. Pop had had a hunch, Kevin thought, or maybe he had even read 
about something like this before. Either way, it had proved out and was too 
obvious to need stating. With the pictures taken quite closely together, if not 
exactly one after another, the action in the makeshift 'movie' almost flowed. 
Not quite, but almost. But when the time between photographs was spaced, what 
they were watching became something that nauseated your eye because it wanted to 
see either a moving picture or a series of still photographs and instead it saw 
both and neither.
Time was passing in that flat Polaroid world. Not at the same speed it passed in 
this
(real?)
one, or the sun would have come up (or gone down) over there three times already 
and whatever the dog was going to do would be done (if it had something to do), 
and if it did not, it would just be gone and there would be only the moveless 
and seemingly eternal eroded picket fence guarding the listless patch of lawn, 
but it was passing.
The dog's head was coming around to face the photographer, owner of the shadow, 
like the head of a dog in the grip of a fit: at one moment the face and even the 
shape of the head was obscured by that floppy ear; then you saw one black-brown 
eye enclosed by a round and somehow mucky corona that made Kevin think of a 
spoiled egg-white; then you saw half the muzzle with the lips appearing slightly 
wrinkled, as if the dog were getting ready to bark or growl; and last of all you 
saw three-quarters of a face somehow more awful than the face of any mere dog 
had a right to be, even a mean one. The white spackles along its muzzle 
suggested it was no longer young. At the very end of the tape you saw the dog's 
lips were indeed pulling back. There was one blink of white Kevin thought was a 
tooth. He didn't see that until the third run-through. It was the eye that held 
him. It was homicidal. This breedless dog almost screamed rogue. And it was 
nameless; he knew that, as well. He knew beyond a shadow of a doubt that no 
Polaroid man or Polaroid woman or Polaroid child had ever named that Polaroid 
dog; it was a stray, born stray, raised stray, grown old and mean stray, the 
avatar of all the dogs who had ever wandered the world, unnamed and unhomed, 
killing chickens, eating garbage out of the cans they had long since learned to 
knock over, sleeping in culverts and beneath the porches of deserted houses. Its 
wits would be dim, but its instincts would be sharp and red. It ..
When Pop Merrill spoke, Kevin was so deeply and fundamentally startled out of 
his thoughts that he nearly screamed.
'The man who took those pitchers,' he said. 'If there was a person, is what I 
mean to say. What do you suppose happened to him?'
Pop had frozen the last frame with his remote control. A line of static ran 
through the picture. Kevin wished it ran through the dog's eye, but the line was 
below it. That eye stared out at them, baleful, stupidly murderous - no, not 
stupidly, not entirely, that was what made it not merely frightening but 
terrifying -and no one needed to answer Pop's question. You needed no more 
pictures to understand what was going to happen next. The dog had perhaps heard 
something: of course it had, and Kevin knew what. It had heard that squidgy 
little whine.
Further pictures would show it continuing to turn, and then beginning to fill 
more and more of each frame until there was nothing to see but dog - no listless 
patchy lawn, no fence, no sidewalk, no shadow. Just the dog.
Who meant to attack.
Who meant to kill, if it could.
Kevin's dry voice seemed to be coming from someone else. 'I don't think it likes 
getting its picture taken,' he said.
Pop's short laugh was like a bunch of dry twigs broken over a knee for kindling.
'Rewind it,' Mr Delevan said.
'You want to see the whole thing again?' Pop asked.
'No - just the last ten seconds or so.'
Pop used the remote control to go back, then ran it again. The dog turned its 
head, as jerky as a robot which is old and running down but still dangerous, and 
Kevin wanted to tell them, Stop now. Just stop. That's enough. Just stop and 
let's break the camera. Because there was something else, wasn't there? 
Something he didn't want to think about but soon would, like it or not; he could 
feel it breaching in his mind like the broad back of a whale.
'Once more,' Mr Delevan said. 'Frame by frame this time. Can you do that?'
'Ayuh,' Pop said. 'Goddam machine does everything but the laundry.'
This time one frame, one picture, at a time. It was not like a robot now, or not 
exactly, but like some weird clock, something that belonged with Pop's other 
specimens downstairs. jerk. Jerk. Jerk. The head coming around. Soon they would 
be faced by that merciless, not-quite-idiotic eye again.
'What's that?' Mr Delevan asked.
'What's what?' Pop asked, as if he didn't know it was the thing the boy hadn't 
wanted to talk about the other day, the thing, he was convinced, that had made 
up the boy's mind about destroying the camera once and for all.
'Underneath its neck,' Mr Delevan said, and pointed. 'It's not wearing a collar 
or a tag, but it's got something around its neck on a string or a thin rope.'
'I dunno,' Pop said imperturbably. 'Maybe your boy does. Young folks have 
sharper eyes than us old fellas.'
Mr Delevan turned to look at Kevin. 'Can you make it out?'
He fell silent. 'It's really small.'
His mind returned to what his father had said when they were leaving the house. 
If she never asks you, you never have to tell her ... That's lust the way we do 
things in the grown-up world. Just now he had asked Kevin if he could make out 
what that thing under the dog's neck was. Kevin hadn't really answered that 
question; he had said something else altogether. It's really small. And it was. 
The fact that he knew what it was in spite of that ... well ...
What had his father called it? Skating up to the edge of a lie?
And he couldn't actually see it. Not actually. just the same, he knew. The eye 
only suggested; the heart understood. just as his heart understood that, if he 
was right, the camera must be destroyed. Must be.
At that moment, Pop Merrill was suddenly struck by an agreeable inspiration. He 
got up and snapped off the TV. 'I've got the pitchers downstairs,' he said. 
'Brought em back with the videotape. I seen that thing m'self, and ran my 
magnifying glass over it, but still couldn't tell ... but it does look familiar, 
God cuss it. just let me go get the pitchers and m'glass.'
'We might as well go down with you,' Kevin said, which was the last thing in the 
world Pop wanted, but then Delevan stepped in, God bless him, and said he might 
like to look at the tape again after they looked at the last couple of pictures 
under the magnifying glass.
'Won't take a minute,' Pop said, and was gone, sprightly as a bird hopping from 
twig to twig on an apple tree, before either of them could have protested, if 
either had had a mind to.
Kevin did not. That thought had finally breached its monstrous back in his mind, 
and, like it or not, he was forced to contemplate it.
It was simple, as a whale's back is simple - at least to the eye of one who does 
not study whales for a living - and it was colossal in the same way.
It wasn't an idea but a simple certainty. It had to do with that odd flatness 
Polaroids always seemed to have, with the way they showed you things only in two 
dimensions, although all photographs did that; it was that other photographs 
seemed to at least suggest a third dimension, even those taken with a simple 
Kodak 110.
The things in his photographs, photographs which showed things he had never seen 
through the Sun's viewfinder or anywhere else, for that matter, were that same 
way: flatly, unapologetically two-dimensional.
Except for the dog.
The dog wasn't flat. The dog wasn't meaningless, a thing you could recognize but 
which had no emotional impact. The dog not only seemed to suggest three 
dimensions but to really have them, the way a hologram seems to really have 
them, or one of those 3-D movies where you had to wear special glasses to 
reconcile the double images.
It's not a Polaroid dog, Kevin thought, and it doesn't belong in the world 
Polaroids take pictures of. That's crazy, I know it is, but I also know it's 
true. So what does it mean? Why is my camera taking pictures of it over and over 
... and what Polaroid man or Polaroid woman is snapping pictures of It? Does he 
or she even see it? If it is a three-dimensional dog in a two-dimensional world, 
maybe he or she doesn't see it ... can't see it. They say for us time is the 
fourth dimension, and we know it's there, but we can't see it. We can't even 
really feel it pass, although sometimes, especially when we're bored, I guess, 
it seems like we can.
But when you got right down to it, all that might not even matter, and the 
questions were far too tough for him, anyway. There were other questions that 
seemed more important to him, vital questions, maybe even mortal ones.
Like why was the dog in his camera?
Did it want something of him, or just of anybody? At first he had thought the 
Answer was anybody, anybody would do because anybody could take pictures of it 
and the movement always advanced. But the thing around its neck, that thing that 
wasn't a collar ... that had to do with him, Kevin Delevan, and nobody else. Did 
it want to do something to him? If the answer to that question was yes, you 
could forget all the other ones, because it was pretty goddamned obvious what 
the dog wanted to do. It was in its murky eye, in the snarl you could just see 
beginning. He thought it wanted two things.
First to escape.
Then to kill.
There's a man or woman over there with a camera who maybe doesn't even see that 
dog, Kevin thought, and if the photographer can't see the dog, maybe the dog 
can't see the photographer, and so the photographer is safe. But if the dog 
really is three-dimensional, maybe he sees out - maybe he sees whoever is using 
my camera. Maybe it's still not me, or not specifically me; maybe whoever is 
using the camera is its target.
Still - the thing it was wearing around its neck. What about that?
He thought of the cur's dark eyes, saved from stupidity by a single malevolent 
spark. God knew how the dog had gotten into that Polaroid world in the first 
place, but when its picture was taken, it could see out, and it wanted to get 
out, and Kevin believed in his heart that it wanted to kill him first, the thing 
it was wearing around its neck said it wanted to kill him first, proclaimed that 
it wanted to kill him first, but after that?
Why, after Kevin, anyone would do.
Anyone at all.
In a way it was like another game you played when you were a little kid, wasn't 
it? It was like Giant Step. The dog had been walking along the fence. The dog 
had heard the Polaroid, that squidgy little whine. It turned, and saw ... what? 
Its own world or universe? A world or universe enough like its own so it saw or 
sensed it could or at least might be able to live and hunt here? It didn't 
matter. Now, every time someone took a picture of it, the dog would get closer. 
It would get closer and closer until ... well, until what? Until it burst 
through, somehow?
'That's stupid,' he muttered. 'It'd never fit.'
'What?' his father asked, roused from his own musings.
'Nothing,' Kevin said. 'I was just talking to myse -'
Then, from downstairs, muffled but audible, they heard Pop Merrill cry out in 
mingled dismay, irritation, and surprise: 'Well shit fire and save matches! 
Goddammit!'
Kevin and his father looked at each other, startled.
'Let's go see what happened,' his father said, and got up. 'I hope he didn't 
fall down and break his arm, or something. I mean, part of me does hope it, but 
... you know.'
Kevin thought: What if he's been taking pictures? What if that dog's down there?
It hadn't sounded like fear in the old man's voice, and of course there really 
was no way a dog that looked as big as a medium-sized German shepherd could come 
through either a camera the size of the Sun 660 or one of the prints it made. 
You might as well try to drag a washing machine through a knothole.
Still, he felt fear enough for both of them - for all three of them - as he 
followed his father back down the stairs to the gloomy bazaar below.
Going down the stairs, Pop Merrill was as happy as a clam at high tide.
He had been prepared to make the switch right in front of them if he had to. 
Might have been a problem if it had just been the boy, who was still a year or 
so away from thinking he knew everything, but the boy's dad - ah, fooling that 
fine fellow would have been like stealing a bottle from a baby. Had he told the 
boy about the jam he'd gotten into that time? From the way the boy looked at him 
- a new, cautious way - Pop thought Delevan probably had. And what else had the 
father told the son? Well, let's see. Does he let you call him Pop? That means 
he's planning to pull a fast one on you. That was for starters. He's a lowdown 
snake in the grass, son. That was for seconds. And, of course, there was the 
prize of them all: Let me do the talking, boy. I know him better than you do. 
You just let me handle everything. Men like Delevan were to Pop Merrill what a 
nice platter of fried chicken was to some folks - tender, tasty, juicy, and all 
but falling off the bone. Once Delevan had been little more than a kid himself, 
and he would never fully understand that it wasn't Pop who had stuck his tit in 
the wringer but he himself. The man could have gone to his wife and she would 
have tapped that old biddy aunt of hers whose tight little ass was lined with 
hundred-dollar bills, and Delevan would have spent some time in the doghouse, 
but she would have let him out in time. He not only hadn't seen it that way; he 
hadn't seen it at all. And now, for no reason but idiot time, which came and 
went without any help from anyone, he thought he knew all there was to know 
about Reginald Marion Merrill.
Which was just the way Pop liked it.
Why, he could have swapped one camera for the other right in front of the man 
instead and Delevan never would have seen a goddamned thing - that was how sure 
he was he had old Pop figured out.
But this was better.
You never ever asked Lady Luck for a date; she had a way of standing men up just 
when they needed her the most. But if she showed up on her own ... well, it was 
wise to drop whatever it was you were doing and take her out and wine her and 
dine her just as lavishly as you could. That was one bitch who always put out if 
you treated her right.
So he went quickly to the worktable, bent, and extracted the Polaroid 660 with 
the broken lens from the shadows underneath. He put it on the table, fished a 
key-ring from his pocket (with one quick glance over his shoulder to be sure 
neither of them had decided to come down after all), and selected the small key 
which opened the locked drawer that formed the entire left side of the table. In 
this deep drawer were a number of gold Krugerrands; a stamp album in which the 
least valuable stamp was worth six hundred dollars in the latest Scott Stamp 
Catalogue; a coin collection worth approximately nineteen thousand dollars; two 
dozen glossy photographs of a bleary-eyed woman having sexual congress with a 
Shetland pony; and an amount of cash totalling just over two thousand dollars.
The cash, which he stowed in a variety of tin cans, was Pop's loan-out money. 
John Delevan would have recognized the bills. They were all crumpled tens.
Pop deposited Kevin's Sun 660 in this drawer, locked it, and put his key-ring 
back in his pocket. Then he pushed the camera with the broken lens off the edge 
of the worktable (again) and cried out 'Well shit fire and save matches! 
Goddammit!' loud enough for them to hear.
Then he arranged his face in the proper expression of dismay and chagrin and 
waited for them to come running to see what had happened.
'Pop?' Kevin cried. 'Mr Merrill? Are you okay?'
'Ayuh,' he said. 'Didn't hurt nothin but my goddam pride. That camera's just bad 
luck, I guess. I bent over to open the tool-drawer, is what I mean to say, and I 
knocked the fuckin thing right off onto the floor. Only I guess it didn't come 
through s'well this time. I dunno if I should say I'm sorry or not. I mean, you 
was gonna -'
He held the camera apologetically out to Kevin, who took it, looked at the 
broken lens and shattered plastic of the housing around it. 'No, it's okay,' 
Kevin told him, turning the camera over in his hands - but he did not handle it 
in the same gingerly, tentative way he had before: as if it might really be 
constructed not of plastic and glass but some sort of explosive. 'I meant to 
bust it up, anyhow.'
'Guess I saved you the trouble.'
'I'd feel better -' Kevin began.
'Ayuh, ayuh. I feel the same way about mice. Laugh if you want to, but when I 
catch one in a trap and it's dead, I beat it with a broom anyway. just to be 
sure, is what I mean to say.'
Kevin smiled faintly, then looked at his father. 'He said he's got a chopping 
block out back, Dad -'
'Got a pretty good sledge in the shed, too, if ain't nobody took it.'
'Do you mind, Dad?'
'It's your camera, Kev,' Delevan said. He flicked a distrustful glance at Pop, 
but it was a glance that said he distrusted Pop on general principles, and not 
for any specific reason. 'But if it will make you feel any better, I think it's 
the right decision.'
'Good,' Kevin said. He felt a tremendous weight go off his shoulders - no, it 
was from his heart that the weight was lifted. With the lens broken, the camera 
was surely useless ... but he wouldn't feel really at ease until he saw it in 
fragments around Pop's chopping block. He turned it over in his hands, front to 
back and back to front, amused and amazed at how much he liked the broken way it 
looked and felt.
'I think I owe you the cost of that camera, Delevan,' Pop said, knowing exactly 
how the man would respond.
'No,' Delevan said. 'Let's smash it and forget this whole crazy thing ever hap 
-' He paused. 'I almost forgot - we were going to look at those last few photos 
under your magnifying glass. I wanted to see if I could make out the thing that 
dog's wearing. I keep thinking it looks familiar.'
'We can do that after we get rid of the camera, can't we?' Kevin asked. 'Okay, 
Dad?'
'Sure.'
'And then,' Pop said, 'it might not be such a bad idea to burn the pitchers 
themselves. You could do it right in my stove.'
'I think that's a great idea,' Kevin said. 'What do you think, Dad?'
'I think Mrs Merrill never raised any fools,' his father said.
'Well,' Pop said, smiling enigmatically from behind folds of rising blue smoke, 
'there was five of us, you know.'
The day had been bright blue when Kevin and his father walked down to the 
Emporium Galorium; a perfect autumn day. Now it was four-thirty, the sky had 
mostly clouded over, and it looked like it might rain before dark. The first 
real chill of the fall touched Kevin's hands. It would chap them red if he 
stayed out long enough, but he had no plans to. His mom would be home in half an 
hour, and already he wondered what she would say when she saw Dad was with him, 
and what his dad would say.
But that was for later.
Kevin set the Sun 660 on the chopping block in the little backyard, and Pop 
Merrill handed him a sledgehammer. The haft was worn smooth with usage. The head 
was rusty, as if someone had left it carelessly out in the rain not once or 
twice but many times. Yet it would do the job, all right. Kevin had no doubt of 
that. The Polaroid, its lens broken and most of the housing around it shattered 
as well, looked fragile and defenseless sitting there on the block's chipped, 
chunked, and splintered surface, where you expected to see a length of ash or 
maple waiting to be split in two.
Kevin set his hands on the sledgehammer's smooth handle and tightened them.
'You're sure, son?' Mr Delevan asked.
'Yes.'
'Okay.' Kevin's father glanced at his own watch. 'Do it, then.'
Pop stood to one side with his pipe clamped between his wretched teeth, hands in 
his back pockets. He looked shrewdly from the boy to the man and then back to 
the boy, but said nothing.
Kevin lifted the sledgehammer and, suddenly surprised by an anger at the camera 
he hadn't even known he felt, he brought it down with all the force he could 
muster.
Too hard, he thought. You're going to miss it, be lucky not to mash your own 
foot, and there it will sit, not much more than a piece of hollow plastic a 
little kid could stomp flat without half trying, and even if you're lucky enough 
to miss your foot, Pop will look at you. He won't say anything; he won't have 
to. It'll all be in the way he looks at you.
And thought also: It doesn't matter if I hit it or not. It's magic, some kind of 
magic camera, and you CAN'T break it. Even if you hit it dead on the money the 
sledge will just bounce off it, like bullets off Superman's chest.
But then there was no more time to think anything, because the sledge connected 
squarely with the camera. Kevin really had swung much too hard to maintain 
anything resembling control, but he got lucky. And the sledgehammer didn't just 
bounce back up, maybe hitting Kevin square between the eyes and killing him, 
like the final twist in a horror Story.
The Sun didn't so much shatter as detonate. Black plastic flew everywhere. A 
long rectangle with a shiny black square at one end - a picture which would 
never be taken, Kevin supposed - fluttered to the bare ground beside the 
chopping block and lay there, face down.
There was a moment of silence so complete they could hear not only the cars on 
Lower Main Street but kids playing tag half a block away in the parking lot 
behind Wardell's Country Store, which had gone bankrupt two years before and had 
stood vacant ever since.
'Well, that's that,' Pop said. 'You swung that sledge just like Paul Bunyan, 
Kevin! I should smile n kiss a pig if you didn't.
'No need to do that,' he said, now addressing Mr Delevan, who was picking up 
broken chunks of plastic as prissily as a man picking up the pieces of a glass 
he has accidentally knocked to the floor and shattered. 'I have a boy comes in 
and cleans up the yard every week or two. I know it don't look much as it is, 
but if I didn't have that kid ... Glory!'
'Then maybe we ought to use your magnifying glass and take a look at those 
pictures,' Mr Delevan said, standing up. He dropped the few pieces of plastic he 
had picked up into a rusty incinerator that stood nearby and then brushed off 
his hands.
'Fine by me,' Pop said.
'Then burn them,' Kevin reminded. 'Don't forget that.'
'I didn't,' Pop said. 'I'll feel better when they're gone, too.'
'Jesus!' John Delevan said. He was bending over Pop Merrill's worktable, looking 
through the lighted magnifying glass at the second-to-last photograph. It was 
the one in which the object around the dog's neck showed most clearly; in the 
last photo, the object had swung back in the other direction again. 'Kevin, look 
at that and tell me if it's what I think it is.'
Kevin took the magnifying glass and looked. He had known, of course, but even so 
it still wasn't a look just for form's sake. Clyde Tombaugh must have looked at 
an actual photograph of the planet Pluto for the first time with the same 
fascination. Tombaugh had known it was there; calculations showing similar 
distortions in the orbital paths of Neptune and Uranus had made Pluto not just a 
possibility but a necessity. Still, to know a thing was there, even to know what 
it was ... that did not detract from the fascination of actually seeing it for 
the first time.
He let go of the switch and handed the glass back to Pop. 'Yeah,' he said to his 
father. 'It's what you think it is.' His voice was as flat as ... as flat as the 
things in that Polaroid world, he supposed, and he felt an urge to laugh. He 
kept the sound inside, not because it would have been inappropriate to laugh 
(although he supposed it would have been) but because the sound would have come 
out sounding ... well . . . flat.
Pop waited and when it became clear to him they were going to need a nudge, he 
said: 'Well, don't keep me hoppin from one foot to the other! What the hell is 
it?'
Kevin had felt reluctant to tell him before, and he felt reluctant now. There 
was no reason for it, but 
Stop being so goddamned dumb! He helped you when you needed helping, no matter 
how he earns his dough. Tell him and bum the pictures and let's get out of here 
before all those clocks start striking five.
Yes. If he was around when that happened, he thought it would be the final 
touch; he would just go completely bananas and they could cart him away to 
juniper Hill, raving about real dogs in Polaroid worlds and cameras that took 
the same picture over and over again except not quite.
'The Polaroid camera was a birthday present,' he heard himself saying in that 
same dry voice. 'What it's wearing around its neck was another one.'
Pop slowly pushed his glasses up onto his bald head and squinted at Kevin. 'I 
don't guess I'm followin you, son.'
'I have an aunt,' Kevin said. 'Actually she's my great-aunt, but we're not 
supposed to call her that, because she says it makes her feel old. Aunt Hilda. 
Anyway, Aunt Hilda's husband left her a lot of money - my mom says she's worth 
over a million dollars - but she's a tightwad.'
He stopped, leaving his father space to protest, but his father only smiled 
sourly and nodded. Pop Merrill, who knew all about that situation (there was 
not, in truth, much in Castle Rock and the surrounding areas Pop didn't know at 
least something about), simply held his peace and waited for the boy to get 
around to spilling it.
'She comes and spends Christmas with us every three years, and that's about the 
only time we go to church, because she goes to church. We have lots of broccoli 
when Aunt Hilda comes. None of us like it, and it just about makes my sister 
puke, but Aunt Hilda likes broccoli a lot, so we have it. There was a book on 
our summer reading list, Great Expectations, and there was a lady in it who was 
just like Aunt Hilda. She got her kicks dangling her money in front of her 
relatives. Her name was Miss Havisham, and when Miss Havisham said frog, people 
jumped. We jump, and I guess the rest of our family does, too.'
'Oh, your Uncle Randy makes your mother look like a piker,' Mr Delevan said 
unexpectedly. Kevin thought his dad meant it to sound amused in a cynical sort 
of way, but what came through was a deep, acidic bitterness. 'When Aunt Hilda 
says frog in Randy's house, they all just about turn cartwheels over the 
roofbeams.'
'Anyway,' Kevin told Pop, 'she sends me the same thing for my birthday every 
year. I mean, each one is different, but each one's really the same.'
'What is it she sends you, boy?'
'A string tie,' Kevin said. 'Like the kind you see guys wearing in old-time 
country-music bands. It has something different on the clasp every year, but 
it's always a string tie.'
Pop snatched the magnifying glass and bent over the picture with it. 'Stone the 
crows!' he said, straightening up. 'A string tie! That's just what it is! Now 
how come I didn't see that?'
'Because it isn't the sort of thing a dog would wear around his neck, I guess,' 
Kevin said in that same wooden voice. They had been here for only forty-five 
minutes or so, but he felt as if he had aged another fifteen years. The thing to 
remember, his mind told him over and over, is that the camera is gone. It's 
nothing but splinters. Never mind all the King's horses and all the King's men; 
not even all the guys who work making cameras at the Polaroid factory in 
Schenectady could put that baby back together again.
Yes, and thank God. Because this was the end of the line. As far as Kevin was 
concerned, if he never encountered the supernatural again until he was eighty, 
never so much as brushed up against it, it would still be too soon.
'Also, it's very small,' Mr Delevan pointed out. 'I was there when Kevin took it 
out of the box, and we all knew what it was going to be. The only mystery was 
what would be on the clasp this year. We joked about it.'
'What is on the clasp?' Pop asked, peering into the photograph again ... or 
peering at it, anyway: Kevin would testify in any court in the land that peering 
into a Polaroid was simply impossible.
'A bird,' Kevin said. 'I'm pretty sure it's a woodpecker. And that's what the 
dog in the picture is wearing around its neck. A string tie with a woodpecker on 
the clasp.'
'Jesus!' Pop said. He was in his own quiet way one of the world's finest actors, 
but there was no need to simulate the surprise he felt now.
Mr Delevan abruptly swept all the Polaroids together. 'Let's put these goddam 
things in the woodstove,' he said.
When Kevin and his father got home, it was ten minutes past five and starting to 
drizzle. Mrs Delevan's two-year-old Toyota was not in the driveway, but she had 
been and gone. There was a note from her on the kitchen table, held down by the 
salt and pepper shakers. When Kevin unfolded the note, a ten-dollar bill fell 
out.
Dear Kevin,
At the bridge game Jane Doyon asked if Meg and I would like to have dinner with 
her at Bonanza as her husband is off to Pittsburgh on business and she's 
knocking around the house alone. I said we'd be delighted. Meg especially. You 
know how much she likes to be 'one of the girls'! Hope you don't mind eating in 
'solitary splendor.' Why not order a pizza & some soda for yourself, and your 
father can order for himself when he gets home. He doesn't like reheated pizza & 
you know he'll want a couple of beers. 
Luv you,
Mom
They looked at each other, both saying Well, there's one thing we don't have to 
worry about without having to say it out loud. Apparently neither she nor Meg 
had noticed that Mr Delevan's car was still in the garage.
'Do you want me to -' Kevin began, but there was no need to finish because his 
father cut across him: 'Yes. Check. Right now.'
Kevin went up the stairs by twos and into his room. He had a bureau and a desk. 
The bottom desk drawer was full of what Kevin simply thought of as 'stuff': 
things it would have seemed somehow criminal to throw away, although he had no 
real use for any of them. There was his grandfather's pocket-watch, heavy, 
scrolled, magnificent ... and so badly rusted that the jeweler in Lewiston he 
and his mother had brought it to only took one look, shook his head, and pushed 
it back across the counter. There were two sets of matching cufflinks and two 
orphans, a Penthouse gatefold, a paperback book called Gross Jokes, and a Sony 
Walkman which had for some reason developed a habit of eating the tapes it was 
supposed to play. It was just stuff, that was all. There was no other word that 
fit.
Part of the stuff, of course, was the thirteen string ties Aunt Hilda had sent 
him for his last thirteen birthdays.
He took them out one by one, counted, came up with twelve instead of thirteen, 
rooted through the stuff-drawer again, then counted again. Still twelve.
'Not there?'
Kevin, who had been squatting, cried out and leaped to his feet.
'I'm sorry,' Mr Delevan said from the doorway. 'That was dumb.'
'That's okay,' Kevin said. He wondered briefly how fast a person's heart could 
beat before the person in question simply blew his engine. 'I'm just ... on 
edge. Stupid.'
'It's not.' His father looked at him soberly. 'When I saw that tape, I got so 
scared I felt like maybe I'd have to reach into my mouth and push my stomach 
back down with my fingers.'
Kevin looked at his father gratefully.
'It's not there, is it?' Mr Delevan said. 'The one with the woodpecker or 
whatever in hell it was supposed to be?'
'No. It's not.'
'Did you keep the camera in that drawer?'
Kevin nodded his head slowly. 'Pop - Mr Merrill - said to let it rest every so 
often. That was part of the schedule he made out.'
Something tugged briefly at his mind, was gone.
'So I stuck it in there.'
'Boy,' Mr Delevan said softly.
'Yeah.'
They looked at each other in the gloom, and then suddenly Kevin smiled. It was 
like watching the sun burst through a raft of clouds.
'What?'
'I was remembering how it felt,' Kevin said. 'I swung that sledgehammer so hard 
-'
Mr Delevan began to smile, too. 'I thought you were going to take off your own 
damned and when it hit it made this CRUNCH! sound flew every damn whichway -'
'BOOM!' Kevin finished. 'Gone!'
They began to laugh together in Kevin's room, and Kevin found he was almost - 
almost - glad all this had happened. The sense of relief was as inexpressible 
and yet as perfect as the sensation one feels when, either by happy accident or 
by some psychic guidance, another person manages to scratch that one itchy place 
on one's back that one cannot scratch oneself, hitting it exactly, bang on the 
money, making it wonderfully worse for a single second by the simple touch, 
pressure, arrival, of those fingers ... and then, oh blessed relief.
It was like that with the camera and with his father's knowing.
'It's gone,' Kevin said. 'Isn't it?'
'As gone as Hiroshima after the Enola Gay dropped the A-bomb on it,' Mr Delevan 
replied, and then added: 'Smashed to shit, is what I mean to say.'
Kevin gawped at his father and then burst into helpless peals - screams, almost 
- of laughter. His father joined him. They ordered a loaded pizza shortly after. 
When Mary and Meg Delevan arrived home at twenty past seven, they both still had 
the giggles.
'Well, you two look like you've been up to no good,' Mrs Delevan said, a little 
puzzled. There was something in their hilarity that struck the woman centre of 
her - that deep part which the sex seems to tap into fully only in times of 
childbirth and disaster - as a little unhealthy. They looked and sounded like 
men who may have just missed having a car accident. 'Want to let the ladies in 
on it?'
'Just two bachelors having a good time,' Mr Delevan said.
'Smashing good time,' Kevin amplified, to which his father added, 'is what we 
mean to say,' and they looked at each other and were howling again.
Meg, honestly bewildered, looked at her mother and said: 'Why are they doing 
that, Mom?'
Mrs Delevan said, 'Because they have penises, dear. Go hang up your coat.'
Pop Merrill let the Delevans, pere et fils, out, and then locked the door behind 
them. He turned off all the lights save for the one over the worktable, produced 
his keys, and opened his own stuff-drawer. From it he took Kevin Delevan's 
Polaroid Sun 660, chipped but otherwise undamaged, and looked at it fixedly. It 
had scared both the father and the son. That was clear enough to Pop; it had 
scared him as well, and still did. But to put a thing like this on a block and 
smash it to smithereens? That was crazy.
There was a way to turn a buck on this goddam thing.
There always was.
Pop locked it away in the drawer. He would sleep on it, and by the morning he 
would know how to proceed. In truth, he already had a pretty goddam good idea.
He got up, snapped off the work-light, and wove his way through the gloom toward 
the steps leading up to his apartment. He moved with the unthinking surefooted 
grace of long practice.
Halfway there, he stopped.
He felt an urge, an amazingly strong urge, to go back and look at the camera 
again. What in God's name for? He didn't even have any film for the Christless 
thing ... not that he had any intentions of taking any pictures with it. If 
someone else wanted to take some snapshots, watch that dog's progress, the buyer 
was welcome. Caveet emperor, as he always said. Let the goddam emperor caveet or 
not as it suited him. As for him, he'd as soon go into a cage filled with lions 
without even a goddam whip and chair.
Still ...
'Leave it,' he said roughly in the darkness, and the sound of his own voice 
startled him and got him moving and he went upstairs without another look back.
CHAPTER 7
Very early the next morning, Kevin Delevan had a nightmare so horrible he could 
only remember parts of it, like isolated phrases of music heard on a radio with 
a defective speaker.
He was walking into a grungy little mill-town. Apparently he was on the bum, 
because he had a pack on his back. The name of the town was Oatley, and Kevin 
had the idea it was either in Vermont or upstate New York. You know anyone 
hiring here in Oatley? he asked an old man pushing a shoppingcart along a 
cracked sidewalk. There were no groceries in the cart; it was full of 
indeterminate junk, and Kevin realized the man was a wino. Get away! the wino 
screamed. Get away! Feef! Fushing feef! Fushing FEEF!
Kevin ran, darted across the street, more frightened of the man's madness than 
he was of the idea anyone might believe that he, Kevin, was a thief. The wino 
called after him: This ain't Oatley! This is Hildasville! Get out of town, you 
fushing feef!
It was then that he realized that this town wasn't Oatley or Hildasville or any 
other town with a normal name. How could an utterly abnormal town have a normal 
name?
Everything - streets, buildings, cars, signs, the few pedestrians - was 
two-dimensional. Things had height, they had width ... but they had no 
thickness. He passed a woman who looked the way Meg's ballet teacher might look 
if the ballet teacher put on a hundred and fifty pounds. She was wearing slacks 
the color of Bazooka bubble gum. Like the wino, she was pushing a shopping-cart. 
It had a squeaky wheel. It was full of Polaroid Sun 660 cameras. She looked at 
Kevin with narrow suspicion as they drew closer together. At the moment when 
they passed each other on the sidewalk, she disappeared. Her shadow was still 
there and he could still hear that rhythmic squeaking, but she was no longer 
there. Then she reappeared, looking back at him from her fat flat suspicious 
face, and Kevin understood the reason why she had disappeared for a moment. It 
was because the concept of 'a side view' didn't exist, couldn't exist, in a 
world where everything was perfectly flat.
This is Polaroidsville, he thought with a relief which was strangely mingled 
with horror. And that means this is only a dream.
Then he saw the white picket fence, and the dog, and the photographer standing 
in the gutter. There were rimless spectacles propped up on his head. It was Pop 
Merrill.
Well, son, you found him, the two-dimensional Polaroid Pop said to Kevin without 
removing his eye from the shutter. That's the dog, right there. The one tore up 
that kid out in Schenectady. YOUR dog, is what I mean to say.
Then Kevin woke up in his own bed, afraid he had screamed but more concerned at 
first not about the dream but to make sure he was all there, all three 
dimensions of him.
He was. But something was wrong.
Stupid dream, he thought. Let it go, why can't you? It's over. Photos are 
burned, all fifty-eight of them. And the camera's bus 
His thought broke off like ice as that something, that something wrong, teased 
at his mind again.
It's not over, he thought. It's n-
But before the thought could finish itself, Kevin Delevan fell deeply, 
dreamlessly asleep. The next morning, he barely remembered the nightmare at all.
CHAPTER 8
The two weeks following his acquisition of Kevin Delevan's Polaroid Sun were the 
most aggravating, infuriating, humiliating two weeks of Pop Merrill's life. 
There were quite a few people in Castle Rock who would have said it couldn't 
have happened to a more deserving guy. Not that anyone in Castle Rock did know 
... and that was just about all the consolation Pop could take. He found it cold 
comfort. Very cold indeed, thank you very much.
But who would have ever believed the Mad Hatters would have, could have, let him 
down so badly?
It was almost enough to make a man wonder if he was starting to slip a little.
God forbid.
CHAPTER 9
Back in September, he hadn't even bothered to wonder if he would sell the 
Polaroid; the only questions were how soon and how much. The Delevans had 
bandied the word supernatural about, and Pop hadn't corrected them, although he 
knew that what the Sun was doing would be more properly classed by psychic 
investigators as a paranormal rather than supernatural phenomenon. He could have 
told them that, but if he had, they might both have wondered how come the owner 
of a small-town used-goods store (and part-time usurer) knew so much about the 
subject. The fact was this: he knew a lot because it was profitable to know a 
lot, and it was profitable to know a lot because of the people he thought of as 
'my Mad Hatters.'
Mad Hatters were people who recorded empty rooms on expensive audio equipment 
not for a lark or a drunken party stunt, but either because they believed 
passionately in an unseen world and wanted to prove its existence, or because 
they wanted passionately to get in touch with friends and/or relatives who had 
'passed on' ('passed on': that's what they always called it; Mad Hatters never 
had relatives who did something so simple as die).
Mad Hatters not only owned and used Ouija Boards, they had regular conversations 
with 'spirit guides' in the 'other world' (never 'heaven,' 'hell,' or even 'the 
rest area of the dead' but the 'other world') who put them in touch with 
friends, relatives, queens, dead rock-and-roll singers, even arch-villains. Pop 
knew of a Mad Hatter in Vermont who had twice-weekly conversations with Hitler. 
Hitler had told him it was all a bum rap, he had sued for peace in January of 
1943 and that son of a bitch Churchill had turned him down. Hitler had also told 
him Paul Newman was a space alien who had been born in a cave on the moon.
Mad Hatters went to seances as regularly (and as compulsively) as drug addicts 
visited their pushers. They bought crystal balls and amulets guaranteed to bring 
good luck; they organized their own little societies and investigated reputedly 
haunted houses for all the usual phenomena: teleplasma, table-rappings, floating 
tables and beds, cold spots, and, of course, ghosts.
They noted all of these, real or imagined, with the enthusiasm of dedicated 
bird-watchers.
Most of them had a ripping good time. Some did not. There was that fellow from 
Wolfeboro, for instance. He hanged himself in the notorious Tecumseh House, 
where a gentleman farmer had, in the 1880s and '90s, helped his fellow men by 
day and helped himself to them by night, dining on them at a formal table in his 
cellar. The table stood upon a floor of sour packed dirt which had yielded the 
bones and decomposed bodies of at least twelve and perhaps as many as 
thirty-five young men, all vagabonds. The fellow from Wolfeboro had left this 
brief note on a pad of papers beside his Ouija Board: Can't leave the house. 
Doors all locked. I hear him eating. Tried cotton. Does no good.
And the poor deluded asshole probably thought he really did, Pop had mused after 
hearing this story from a source he trusted.
Then there was a fellow in Dunwich, Massachusetts, to whom Pop had once sold a 
so-called 'spirit trumpet' for ninety dollars; the fellow had taken the trumpet 
to the Dunwich Cemetery and must have heard something exceedingly unpleasant, 
because he had been raving in a padded cell in Arkham for almost six years now, 
totally insane. When he had gone into the boneyard, his hair had been black; 
when his screams awoke the few neighbors who lived close enough to the cemetery 
to hear them and the police were summoned, it was as white as his howling face.
And there was the woman in Portland who lost an eye when a session with the 
Ouija Board went cataclysmically wrong ... the man in Kingston, Rhode Island, 
who lost three fingers on his right hand when the rear door of a car in which 
two teenagers had committed suicide closed on it ... the old lady who landed in 
Massachusetts Memorial Hospital short most of one ear when her equally elderly 
cat, Claudette, supposedly went on a rampage during a seance ...
Pop believed some of these things, disbelieved others, and mostly held no 
opinion - not because he didn't have enough hard evidence one way or the other, 
but because he didn't give a fart in a high wind about ghosts, seances, crystal 
balls, spirit trumpets, rampaging cats, or the fabled John the Conquerer Root. 
As far as Reginald Marion 'Pop' Merrill was concerned, the Mad Hatters could all 
take a flying fuck at the moon.
As long, of course, as one of them handed over some mighty tall tickets for 
Kevin Delevan's camera before taking passage on the next shuttle.
Pop didn't call these enthusiasts Mad Hatters because of their spectral 
interests; he called them that because the great majority - he was sometimes 
tempted to say all of them - seemed to be rich, retired, and just begging to be 
plucked. If you were willing to spend fifteen minutes with them nodding and 
agreeing while they assured you they could pick a fake medium from a real one 
just by walking into the room, let alone sitting down at the seance table, or if 
you spent an equal amount of time listening to garbled noises which might or 
might not be words on a tape player with the proper expression of awe on your 
face, you could sell them a four-dollar paperweight for a hundred by telling 
them a man had once glimpsed his dead mother in it. You gave them a smile and 
they wrote you a check for two hundred dollars. You gave them an encouraging 
word and they wrote you a check for two thousand dollars. If you gave them both 
things at the same time, they just kind of passed the checkbook over to you and 
asked you to fill in an amount.
It had always been as easy as taking candy from a baby.
Until now.
Pop didn't keep a file in his cabinet marked MAD HATTERS any more than he kept 
one marked COIN COLLECTORS or STAMP COLLECTORS. He didn't even have a 
file-cabinet. The closest thing to it was a battered old book of phone numbers 
he carried around in his back pocket (which, like his purse, had over the years 
taken on the shallow ungenerous curve of the spindly buttock it lay against 
every day). Pop kept his files where a man in his line of work should always 
keep them: in his head. There were eight full-blown Mad Hatters that he had done 
business with over the years, people who didn't just dabble in the occult but 
who got right down and rolled around in it. The richest was a retired 
industrialist named McCarty who lived on his own island about twelve miles off 
the coast. This fellow disdained boats and employed a full-time pilot who flew 
him back and forth to the mainland when he needed to go.
Pop went to him on September 28th, the day after he obtained the camera from 
Kevin (he didn't, couldn't, exactly think of it as robbery; the boy, after all, 
had been planning to smash it to shit anyway, and what he didn't know surely 
couldn't hurt him). He drove to a private airstrip just north of Boothbay Harbor 
in his old but perfectly maintained car, then gritted his teeth and slitted his 
eyes and held onto the steel lockbox with the Polaroid Sun 660 in it for dear 
fife as the Mad Hatter's Beechcraft plunged down the dirt runway like a rogue 
horse, rose into the air just as Pop was sure they were going to fall off the 
edge and be smashed to jelly on the rocks below, and flew away into the autumn 
empyrean. He had made this trip twice before, and had sworn each time that he 
would never get into that goddam flying coffin again.
They bumped and jounced along with the hungry Atlantic less than five hundred 
feet below, the pilot talking cheerfully the whole way. Pop nodded and said ayuh 
in what seemed like the right places, although he was more concerned with his 
imminent demise than with anything the pilot was saying.
Then the island was ahead with its horribly, dismally, suicidally short landing 
strip and its sprawling house of redwood and fieldstone, and the pilot swooped 
down, leaving Pop's poor old acid-shrivelled stomach somewhere in the air above 
them, and they hit with a thud and then, somehow, miraculously, they were 
taxiing to a stop, still alive and whole, and Pop could safely go back to 
believing God was just another invention of the Mad Hatters ... at least until 
he had to get back in that damned plane for the return journey.
'Great day for flying, huh, Mr Merrill?' the pilot asked, unfolding the steps 
for him.
'Finest kind,' Pop grunted, then strode up the walk to the house where the 
Thanksgiving turkey stood in the doorway, smiling in eager anticipation. Pop had 
promised to show him 'the goddanmedest thing I ever come across,' and Cedric 
McCarty looked like he couldn't wait. He'd take one quick look for form's sake, 
Pop thought, and then fork over the lettuce. He went back to the mainland 
forty-five minutes later, barely noticing the thumps and jounces and 
gut-goozling drops as the Beech hit the occasional air-pocket. He was a 
chastened, thoughtful man.
He had aimed the Polaroid at the Mad Hatter and took his picture. While they 
waited for it to develop, the Mad Hatter took a picture of Pop ... and when the 
flashbulb went off, had he heard something? Had he heard the low, ugly snarl of 
that black dog, or had it been his imagination? Imagination, most likely. Pop 
had made some magnificent deals in his time, and you couldn't do that without 
imagination.
Still 
Cedric McCarty, retired industrialist par excellence and Mad Hatter 
extraordinaire, watched the photographs develop with that same childlike 
eagerness, but when they finally came clear, he looked amused and even perhaps a 
little contemptuous and Pop knew with the infallible intuition which had 
developed over almost fifty years that arguing, cajolery, even vague hints that 
he had another customer just slavering for a chance to buy this camera - none of 
those usually reliable techniques would work. A big orange NO SALE card had gone 
up in Cedric McCarty's mind.
But why?
Goddammit, why?
In the picture Pop took, that glint Kevin had spotted amid the wrinkles of the 
black dog's muzzle had clearly become a tooth - except tooth wasn't the right 
word, not by any stretch of the imagination. That was a fang. In the one McCarty 
took, you could see the beginnings of the neighboring teeth.
Fucking dog's got a mouth like a bear-trap, Pop thought. Unbidden, an image of 
his arm in that dog's mouth rose in his mind. He saw the dog not biting it, not 
eating it, but shredding it, the way the many teeth of a wood-chipper shreds 
bark, leaves, and small branches. How long would it take? he wondered, and 
looked at those dirty eyes staring out at him from the overgrown face and knew 
it wouldn't take long. Or suppose the dog seized him by the crotch, instead? 
Suppose But McCarty had said something and was waiting for a response. Pop 
turned his attention to the man, and any lingering hope he might have held of 
making a sale evaporated. The Mad Hatter extraordinaire, who would cheerfully 
spend an afternoon with you trying to call UP the ghost of your dear departed 
Uncle Ned, was gone. In his place was McCarty's other side: the hardheaded 
realist who had made Fortune magazine's listing of the richest men in America 
for twelve straight years - not because he was an airhead who had had the good 
fortune to inherit both a lot of money and an honest, capable staff to husband 
and expand it, but because he had been a genius in the field of aerodynamic 
design and development. He was not as rich as Howard Hughes but not quite as 
crazy as Hughes had been at the end, either. When it came to psychic phenomena, 
the man was a Mad Hatter. Outside that one area, however, he was a shark that 
make the likes of Pop Merrill look like a tadpole swimming in a mud-puddle.
'Sorry,' Pop said. 'I was woolgatherin a little, Mr McCarty.'
'I said it's fascinating,' McCarty said. 'Especially the subtle indications of 
passing time from one photo to the next. How does it work? Camera in camera?'
'I don't understand what you're gettin at.'
'No, not a camera,' McCarty said, speaking to himself. He picked the camera up 
and shook it next to his ear. 'More likely some sort of roller device.'
Pop stared at the man with no idea what he was talking about ... except it 
spelled NO SALE, whatever it was. That goddam Christless ride in the little 
plane (and soon to do over again), all for nothing. But why? Why? He had been so 
sure of this fellow, who would probably believe the Brooklyn Bridge was a 
spectral illusion from the 'other side' if you told him it was. So why?
'Slots, of course!' McCarty said, as delighted as a child. 'Slots! There's a 
circular belt on pulleys inside this housing with a number of slots built into 
it. Each slot contains an exposed Polaroid picture of this dog. Continuity 
suggests' -he looked carefully at the pictures again - 'yes, that the dog might 
have been filmed, with the Polaroids made from individual frames. When the 
shutter is released, a picture drops from its slot and emerges. The battery 
turns the belt enough to position the next photo, and - voila!'
His pleasant expression was suddenly gone, and Pop saw a man who looked like he 
might have made his way to fame and fortune over the broken, bleeding bodies of 
his competitors ... and enjoyed it.
'Joe will fly you back,' he said. His voice had gone chill and impersonal. 
'You're good, Mr Merrill' - this man, Pop realized glumly, would never call him 
Pop again -'I'll admit that. You've finally overstepped yourself, but for a long 
time you had me fooled. How much did you take me for? Was it all claptrap?'
'I didn't take you for one red cent,' Pop said, lying stoutly. 'I never sold you 
one single thing I didn't b'lieve was the genuine article, and what I mean to 
say is that goes for that camera as well.'
'You make me sick,' McCarty said. 'Not because I trusted you; I've trusted 
others who were fakes and shams. Not because you took my money; it wasn't enough 
to matter. You make me sick because it's men like you that have kept the 
scientific investigation of psychic phenomena in the dark ages, something to be 
laughed at, something to be dismissed as the sole province of crackpots and 
dimwits. The one consolation is that sooner or later you fellows always overstep 
yourselves. You get greedy and try to palm off something ridiculous like this. I 
want you out of here, Mr Merrill.'
Pop had his pipe in his mouth and a Diamond Blue Tip in one shaking hand. 
McCarty pointed at him, and the chilly eyes above that finger made it look like 
the barrel of a gun.
'And if you light that stinking thing in here,' he said, 'I'll have Joe yank it 
out of your mouth and dump the coals down the back of your pants. So unless you 
want to leave my house with your skinny ass in flames, I suggest -'
'What's the matter with you, Mr McCarty?' Pop bleated. 'These pitchers didn't 
come out all developed! You watched em develop with your own eyes!'
'An emulsion any kid with a twelve-dollar chemistry set could whip up,' McCarty 
said coldly. 'It's not the catalyst-fixative the Polaroid people use, but it's 
close. You expose your Polaroids - or create them from movie-film, if that's 
what you did - and then you take them in a standard darkroom and paint them with 
the goop. When they're dry, you load them. When they pop out, they look like any 
Polaroid that hasn't started to develop yet. Solid gray in a white border. Then 
the light hits your home-made emulsion, creating a chemical change, and it 
evaporates, showing a picture you yourself took hours or days or weeks before. 
Joe?'
Before Pop could say anything else, his arms were seized and he was not so much 
walked as propelled from the spacious, glass-walled living room. He wouldn't 
have said anything, anyway. Another of the many things a good businessman had to 
know was when he was licked. And yet he wanted to shout over his shoulder: Some 
dumb cunt with dyed hair and a crystal ball she ordered from Fate magazine 
floats a book or a lamp or a page of goddam sheet-music through a dark room and 
you bout shit yourself, but when I show you a camera that takes pitchers of some 
other world, you have me thrown out by the seat of m'pants! You're mad as a 
hatter, all right! Well, fuck ya! There's other fish in the sea!
So there were.
On October 5th, Pop got into his perfectly maintained car and drove to Portland 
to pay a visit on the Pus Sisters.
The Pus Sisters were identical twins who lived in Portland. They were eighty or 
so but looked older than Stonehenge. They chain-smoked Camel cigarettes, and had 
done so since they were seventeen, they were happy to tell you. They never 
coughed in spite of the six packs they smoked between them each and every day. 
They were driven about - on those rare occasions when they left their red brick 
Colonial mansion - in a 1958 Lincoln Continental which had the somber glow of a 
hearse. This vehicle was piloted by a black woman only a little younger than the 
Pus Sisters themselves. This female chauffeur was probably a mute, but might 
just be something a bit more special: one of the few truly taciturn human beings 
God ever made. Pop did not know and had never asked. He had dealt with the two 
old ladies for nearly thirty years, the black woman had been with them all that 
time, mostly driving the car, sometimes washing it, sometimes mowing the lawn or 
clipping the hedges around the house, sometimes stalking down to the mailbox on 
the corner with letters from the Pus Sisters to God alone knew who (he didn't 
know if the black woman ever went or was allowed inside the house, either, only 
that he had never seen her there), and during all that time he had never heard 
this marvellous creature speak.
The Colonial mansion was in Portland's Bramhall district, which is to Portland 
what the Beacon Hill area is to Boston. In that latter city, in the land of the 
bean and the cod, it's said the Cabots speak only to Lowells and the Lowells 
speak only to God, but the Pus Sisters and their few remaining contemporaries in 
Portland would and did calmly assert that the Lowells had turned a private 
connection into a party line some years after the Deeres and their Portland 
contemporaries had set up the original wire.
And of course no one in his right mind would have called them the Pus Sisters to 
their identical faces any more than anyone in his right mind would have stuck 
his nose in a bandsaw to take care of a troublesome itch. They were the Pus 
Sisters when they weren't around (and when one was fairly sure one was in 
company which didn't contain a tale-bearer or two), but their real names were 
Miss Eleusippus Deere and Mrs. Meleusippus Verrill. Their father, in his 
determination to combine devout Christianity with an exhibition of his own 
erudition, had named them for two of three triplets who had all become saints 
... but who, unfortunately, had been male saints.
Meleusippus's husband had died a great many years before, during the Battle of 
Leyte Gulf in 1944, as a matter of fact. but she had resolutely kept his name 
ever since, which made it impossible to take the easy way out and simply call 
them the Misses Deere. No; you had to practice those goddamned tongue-twister 
names until they came out as smooth as shit from a waxed asshole. If you fucked 
up once, they held it against you, and you might lose their custom for as long 
as six months or a year. Fuck up twice, and don't even bother to call. Ever 
again.
Pop drove with the steel box containing the Polaroid camera on the seat beside 
him, saying their names over and over again in a low voice: 'Eleusippus. 
Meleusippus. Eleusippus and Meleusippus. Ayuh. That's all right.'
But, as it turned out, that was the only thing that was all right. They wanted 
the Polaroid no more than McCarty had wanted it ... although Pop had been so 
shaken by that encounter he went in fully prepared to take ten thousand dollars 
less, or fifty per cent of his original confident estimate of what the camera 
might fetch.
The elderly black woman was raking leaves, revealing a lawn which, October or 
not, was still as green as the felt on a billiard table. Pop nodded to her. She 
looked at him, looked through him, and continued raking leaves. Pop rang the 
bell and, somewhere in the depths of the house, a bell bonged. Mansion seemed 
the perfectly proper word for the Pus Sisters' domicile. Although it was nowhere 
as big as some of the old homes in the Bramhall district, the perpetual dimness 
which reigned inside made it seem much bigger. The sound of the bell really did 
seem to come floating through a depth of rooms and corridors and the sound of 
that bell always stirred a specific image in Pop's mind: the dead-cart passing 
through the streets of London during the plague year, the driver ceaselessly 
tolling his bell and crying, 'Bring outcher dead! Bring outcher dead! For the 
luvva Jaysus, bring outcher dead!'
The Pus Sister who opened the door some thirty seconds later looked not only 
dead but embalmed; a mummy between whose lips someone had poked the smouldering 
butt of a cigarette for a joke.
'Merrill,' the lady said. Her dress was a deep blue, her hair colored to match. 
She tried to speak to him as a great lady would speak to a tradesman who had 
come to the wrong door by mistake, but Pop could see she was, in her way, every 
bit as excited as that son of a bitch McCarty had been; it was just that the Pus 
Sisters had been born in Maine, raised in Maine, and would die in Maine, while 
McCarty hailed from someplace in the Midwest, where the art and craft of 
taciturnity were apparently not considered an important part of a child's 
upbringing.
A shadow flitted somewhere near the parlor end of the hallway, just visible over 
the bony shoulder of the sister who had opened the door. The other one. Oh. they 
were eager, all right. Pop began to wonder if he couldn't squeeze twelve grand 
out of them after all. Maybe even fourteen.
Pop knew he could say, 'Do I have the honor of addressing Miss Deere or Mrs 
Verrill?' and be completely correct and completely polite, but he had dealt with 
this pair of eccentric old bags before and he knew that, while the Pus Sister 
who had opened the door wouldn't raise an eyebrow or flare a nostril, would 
simply tell him which one he was speaking to, he would lose at least a thousand 
by doing so. They took great pride in their odd masculine names, and were apt to 
look more kindly on a person who tried and failed than one who took the coward's 
way out.
So, saying a quick mental prayer that his tongue wouldn't fail him now that the 
moment had come, he gave it his best and was pleased to hear the names slip as 
smoothly from his tongue as a pitch from a snake-oil salesman: 'Is it Eleusippus 
or Meleusippus?' he asked, his face suggesting he was no more concerned about 
getting the names right than if they had been Joan and Kate.
'Meleusippus, Mr Merrill,' she said, ah, good, now he was Mister Merrill, and he 
was sure everything was going to go just as slick as ever a man could want, and 
he was just as wrong as ever a man could be. 'Won't you step in?'
'Thank you kindly,' Pop said, and entered the gloomy depths of the Deere 
Mansion.
'Oh dear,' Eleusippus Deere said as the Polaroid began to develop.
'What a brute he looks!' Meleusippus Verrill said, speaking in tones of genuine 
dismay and fear.
The dog was getting uglier, Pop had to admit that, and there was something else 
that worried him even more: the time-sequence of the pictures seemed to be 
speeding up.
He had posed the Pus Sisters on their Queen Anne sofa for the demonstration 
picture. The camera flashed its bright white light, turning the room for one 
single instant from the purgatorial zone between the land of the living and that 
of the dead where these two old relics somehow existed into something flat and 
tawdry, like a police photo of a museum in which a crime had been committed.
Except the picture which emerged did not show the Pus Sisters sitting together 
on their parlor sofa like identical bookends. The picture showed the black dog, 
now turned so that it was full-face to the camera and whatever photographer it 
was who was nuts enough to stand there and keep snapping pictures of it. Now all 
of its teeth were exposed in a crazy, homicidal snarl, and its head had taken on 
a slight, predatory tilt to the left. That head, Pop thought, would continue to 
tilt as it sprang at its victim, accomplishing two purposes: concealing the 
vulnerable area of its neck from possible attack and putting the head in a 
position where, once the teeth were clamped solidly in flesh, it could revolve 
upright again, ripping a large chunk of living tissue from its target.
'It's so awful!' Eleusippus said, putting one mummified hand to the scaly flesh 
of her neck.
'So terrible!' Meleusippus nearly moaned, lighting a fresh Camel from the butt 
of an old one with a hand shaking so badly she came close to branding the 
cracked and fissured left comer of her mouth.
'It's totally in-ex-PLICK-able!' Pop said triumphantly, thinking: I wish you was 
here, McCarty, you happy asshole. I just wish you was. Here's two ladies been 
round the Horn and back a few times that don't think this goddam camera's just 
some kind of a carny magic-show trick!
'Does it show something which has happened?' Meleusippus whispered.
'Or something which will happen?' Eleusippus added in an equally awed whisper.
'I dunno,' Pop said. 'All I know for sure is that I have seen some goddam 
strange things in my time, but I've never seen the beat of these pitchers.'
'I'm not surprised!' Eleusippus.
'Nor E' Meleusippus.
Pop was all set to start the conversation going in the direction of price - a 
delicate business when you were dealing with anyone, but never more so than when 
you were dealing with the Pus Sisters: when it got down to hard trading, they 
were as delicate as a pair of virgins - which, for all Pop knew, at least one of 
them was. He was just deciding on the To start with, it never crossed my mind to 
sell something like this, but ... approach (it was older than the Pus Sisters 
themselves - although probably not by much, you would have said after a good 
close look at them - but when you were dealing with Mad Hatters, that didn't 
matter a bit; in fact, they liked to hear it, the way small children like to 
hear the same fairy tales over and over) when Eleusippus absolutely floored him 
by saying, 'I don't know about my sister, Mr Merrill, but I wouldn't feel 
comfortable looking at anything you might have to' - here a slight, pained pause 
- 'offer us in a business way until you put that ... that camera, or whatever 
God-awful thing it is ... back in your car.'
'I couldn't agree more,' Meleusippus said, stubbing out her half-smoked Camel in 
a fish-shaped ashtray which was doing everything but shitting Camel cigarette 
butts.
'Ghost photographs,' Eleusippus said, 'are one thing. They have a certain -'
'Dignity,' Meleusippus suggested.
'Yes! Dignity! But that dog -' The old woman actually shivered. 'It looks as if 
it's ready to jump right out of that photograph and bite one of us.'
'All of us!' Meleusippus elaborated.
Up until this last exchange, Pop had been convinced - perhaps because he had to 
be - that the sisters had merely begun their own part of the dickering, and in 
admirable style. But the tone of their voices, as identical as their faces and 
figures (if they could have been said to have such things as figures), was 
beyond his power to disbelieve. They had no doubt that the Sun 660 was 
exhibiting some sort of paranormal behavior ... too paranormal to suit them. 
They weren't dickering; they weren't pretending; they weren't playing games with 
him in an effort to knock the price down. When they said they wanted no part of 
the camera and the weird thing it was doing, that was exactly what they meant - 
nor had they done him the discourtesy (and that's just what it would have been, 
in their minds) of supposing or even dreaming that selling it had been his 
purpose in coming.
Pop looked around the parlor. It was like the old lady's room in a horror movie 
he'd watched once on his VCR - a piece of claptrap called Burnt Offerings, where 
this big old beefy fella tried to drown his son in the swimming pool but nobody 
even took their clothes off. That lady's room had been filled, overfilled, 
actually stuffed with old and new photographs. They sat on the 
tables and the mantel in every sort of frame; they covered so much of the walls 
you couldn't even tell what the pattern on the frigging paper was supposed to 
be.
The Pus Sisters' parlor wasn't quite that bad, but there were still plenty of 
photographs; maybe as many as a hundred and fifty, which seemed like three times 
that many in a room as small and dim as this one. Pop had been here often enough 
to notice most of them at least in passing, and he knew others even better than 
that, for he had been the one to sell them to Eleusippus and Meleusippus.
They had a great many more 'ghost photographs,' as Eleusippus Deere called them, 
perhaps as many as a thousand in all, but apparently even they had realized a 
room the size of their parlor was limited in terms of display-space, if not in 
those of taste. The rest of the ghost photographs were distributed among the 
mansion's other fourteen rooms. Pop had seen them all. He was one of the 
fortunate few who had been granted what the Pus Sisters called, with simple 
grandiosity, The Tour. But it was here in the parlor that they kept their prize 
'ghost photographs,' with the prize of prizes attracting the eye by the simple 
fact that it stood in solitary splendor atop the closed Steinway baby grand by 
the bow windows. In it, a corpse was levitating from its coffin before fifty or 
sixty horrified mourners. It was a fake, of course. A child of ten - hell, a 
child of eight - would have known it was a fake. It made the photographs of the 
dancing elves which had so bewitched poor Arthur Conan Doyle near the end of his 
life look accomplished by comparison. In fact, as Pop ranged his eye about the 
room, he saw only two photographs that weren't obvious fakes. It would take 
closer study to see how the trickery had been worked in those. Yet these two 
ancient pussies, who had collected 'ghost photographs' all their lives and 
claimed to be great experts in the field, acted like a couple of teenage girls 
at a horror movie when he showed them not just a paranormal photograph but a 
goddam Jesus-jumping paranormal camera that didn't just do its trick once and 
then quit, like the one that had taken the picture of the ghost-lady watching 
the fox-hunters come home, but one that did it again and again and again, and 
how much had they spent on this stuff that was nothing but claptrap? Thousands? 
Tens of thousands? Hundreds of 
'-show us?' Meleusippus was asking him.
Pop Merrill forced his lips to turn up in what must have been at least a 
reasonable imitation of his Folksy Crackerbarrel Smile, because they registered 
no surprise or distrust.
'Pardon me, dear lady,' Pop said. 'M'mind went woolgatherin all on its own for a 
minute or two there. I guess it happens to all of us as we get on.'
'We're eighty-three, and our minds are as clear as window-glass,' Eleusippus 
said with clear disapproval.
‘Freshly washed window-glass,' Meleusippus added. 'I asked if you have some new 
photographs you would care to show us ... once you've put that wretched thing 
away, of course.'
'It's been ages since we saw any really good new ones,' Eleusippus said, 
lighting a fresh Camel.
'We went to The New England Psychic and Tarot Convention in Providence last 
month,' Meleusippus said, 'and while the lectures were enlightening’
‘and uplifting -'
‘so many of the photographs were arrant fakes! Even a child of ten -' of seven! 
-'
‘could have seen through them. So ‘. Meleusippus paused. Her face assumed an 
expression of perplexity which looked as if it might hurt (the muscles of her 
face having long since atrophied into expressions of mild pleasure and serene 
knowledge). 'I am puzzled. Mr Merrill, I must admit to being a bit puzzled.'
'I was about to say the same thing,' Eleusippus said.
'Why did you bring that awful thing?' Meleusippus and Eleusippus asked in 
perfect two-part harmony, spoiled only by the nicotine rasp of their voices.
The urge Pop felt to say Because I didn't know what a pair of chickenshit old 
cunts you two were was so strong that for one horrified second he believed he 
had said it, and he quailed, waiting for the twin screams of outrage to rise in 
the dim and hallowed confines of the parlor, screams which would rise like the 
squeal of rusty bandsaws biting into tough pine-knots, and go on rising until 
the glass in the frame of every bogus picture in the room shattered in an agony 
of vibration.
The idea that he had spoken such a terrible thought aloud lasted only a 
split-second, but when he relived it on later wakeful nights while the clocks 
rustled sleepily below (and while Kevin Delevan's Polaroid crouched sleeplessly 
in the locked drawer of the worktable), it seemed much longer. In those 
sleepless hours, he sometimes found himself wishing he had said it, and wondered 
if he was maybe losing his mind.
What he did do was react with speed and a canny instinct for selfpreservation 
that were nearly noble. To blow up at the Pus Sisters would give him immense 
gratification, but it would, unfortunately, be short-lived gratification. If he 
buttered them up - which was exactly what they expected, since they had been 
basted in butter all their fives (although it hadn't done a goddam thing for 
their skins) - he could perhaps sell them another three or four thousand 
dollars' worth of claptrap 'ghost photographs,' if they continued to elude the 
lung cancer which should surely have claimed one or both at least a dozen years 
ago.
And there were, after all, other Mad Hatters in Pop's mental file, although not 
quite so many as he'd thought on the day he'd set off to see Cedric McCarty. A 
little checking had revealed that two had died and one was currently learning 
how to weave baskets in a posh northern California retreat which catered to the 
incredibly rich who also happened to have gone hopelessly insane.
'Actually,' he said, 'I brought the camera out so you ladies could look at it. 
What I mean to say,' he hastened on, observing their expressions of 
consternation, 'is I know how much experience you ladies have in this field.'
Consternation turned to gratification; the sisters exchanged smug, comfy looks, 
and Pop found himself wishing he could douse a couple of their goddam packs of 
Camels with barbecue lighter fluid and jam them up their tight little old-maid 
asses and then strike a match. They'd smoke then, all right. They'd smoke just 
like plugged chimneys, was what he meant to say.
'I thought you might have some advice on what I should do with the camera, is 
what I mean to say,' he finished.
'Destroy it,' Eleusippus said immediately.
'I'd use dynamite,' Meleusippus said.
'Acid first, then dynamite,' Eleusippus said.
'Right,' Meleusippus finished. 'It's dangerous. You don't have to look at that 
devil-dog to know that.' She did look, though; they both did, and identical 
expressions of revulsion and fear crossed their faces.
'You can feel eeevil coming out of it,' Eleusippus said in a voice of such 
portentousness that it should have been laughable, like a high-school girl 
playing a witch in Macbeth, but which somehow wasn't. 'Destroy it, Mr Merrill. 
Before something awful happens. Before - perhaps, you'll notice I only say 
perhaps - it destroys you.'
'Now, now,' Pop said, annoyed to find he felt just a little uneasy in spite of 
himself, 'that's drawing it a little strong. It's just a camera, is what I mean 
to say.'
Eleusippus Deere said quietly: 'And the planchette that put out poor Colette 
Simineaux's eye a few years ago - that was nothing but a piece of fiberboard.'
'At least until those foolish, foolish, foolish people put their fingers on it 
and woke it up,' Meleusippus said, more quietly still.
There seemed nothing left to say. Pop picked up the camera - careful to do so by 
the strap, not touching the actual camera itself, although he told himself this 
was just for the benefit of these two old pussies - and stood.
'Well, you're the experts,' he said. The two old women looked at each other and 
preened.
Yes; retreat. Retreat was the answer ... for now, at least. But he wasn't done 
yet. Every dog has its day, and you could take that to the bank. 'I don't want 
to take up any more of y'time, and I surely don't want to discommode you.'
'Oh, you haven't!' Eleusippus said, also rising.
'We have so very few guests these days!' Meleusippus said, also rising.
'Put it in your car, Mr Merrill,' Eleusippus said, 'and then -'
'- come in and have tea.'
'High tea!'
And although Pop wanted nothing more in his life than to be out of there (and to 
tell them exactly that: Thanks but no thanks. I want to get the fuck OUT of 
here), he made a courtly little half-bow and an excuse of the same sort. 'It 
would be my pleasure,' he said, 'but I'm afraid I have another appointment. I 
don't get to the city as often as I'd like.' If you're going to tell one lie, 
you might as well tell a pack, Pop's own Pop had often told him, and it was 
advice he had taken to heart. He made a business of looking at his watch. 'I've 
stayed too long already. You girls have made me late, I'm afraid, but I suppose 
I'm not the first man you've done that to.'
They giggled and actually raised identical blushes, like the glow of very old 
roses. 'Why, Mr Merrill!' Eleusippus trilled.
'Ask me next time,' he said, smiling until his face felt as if it would break. 
'Ask me next time, by the Lord Harry! You just ask and see if I don't say yes 
faster'n a hoss can trot!'
He went out, and as one of them quickly closed the door behind him (maybe they 
think the sun'll fade their goddam fake ghost photographs, Pop thought sourly), 
he turned and snapped the Polaroid at the old black woman, who was still raking 
leaves. He did it on impulse, as a man with a mean streak may on impulse swerve 
across a country road to kill a skunk or raccoon.
The black woman's upper lip rose in a snarl, and Pop was stunned to see she was 
actually forking the sign of the evil eye at him.
He got into his car and backed hurriedly down the driveway.
The rear end of his car was halfway into the street and he was turning to check 
for traffic when his eye happened upon the Polaroid he had just taken. It wasn't 
fully developed; it had the listless, milky look of all Polaroid photographs 
which are still developing.
Yet it had come up enough so that Pop only stared at it, the breath he had begun 
to unthinkingly draw into his lungs suddenly ceasing like a breeze that 
unaccountably drops away to nothing for a moment. His very heart seemed to cease 
in mid-beat.
What Kevin had imagined was now happening. The dog had finished its pivot, and 
had now begun its relentless ordained irrefutable approach toward the camera and 
whoever held it ... ah, but he had held it this time, hadn't he? He, Reginald 
Marion 'Pop' Merrill, had raised it and snapped it at the old black woman in a 
moment's pique like a spanked child that shoots a pop bottle off the top of a 
fence-post with his BB gun because he can't very well shoot his father, although 
in that humiliating, bottom-throbbing time directly after the paddling he would 
be more than happy to.
The dog was coming. Kevin had known that would happen next, and Pop would have 
known it, too, if he'd had occasion to think on it, which he hadn't -although 
from this moment on he would find it hard to think of anything else when he 
thought of the camera, and he would find those thoughts filling more and more of 
his time, both waking and dreaming.
It's coming, Pop thought with the sort of frozen horror a man might feel 
standing in the dark as some Thing, some unspeakable and unbearable Thing, 
approaches with its razor-sharp claws and teeth. Oh my God, it's coming, that 
dog is coming.
But it wasn't just coming; it was changing.
It was impossible to say how. His eyes hurt, caught between what they should be 
seeing and what they were seeing, and in the end the only handle he could find 
was a very small one: it was as if someone had changed the lens on the camera, 
from the normal one to a fish-eye, so that the dog's forehead with its clots of 
tangled fur seemed somehow to bulge and recede at the same time, and the dog's 
murderous eyes seemed to have taken on filthy, barely visible glimmers of red, 
like the sparks a Polaroid flash sometimes puts in people's eyes.
The dog's body seemed to have elongated but not thinned; if anything, it seemed 
thicker - not fatter, but more heavily muscled.
And its teeth were bigger. Longer. Sharper.
Pop suddenly found himself remembering Joe Camber's Saint Bernard, Cujo -the one 
who had killed Joe and that old tosspot Gary Pervier and Big George Bannerman. 
The dog had gone rabid. It had trapped a woman and a young boy in their car up 
there at Camber's place and after two or three days the kid had died. And now 
Pop found himself wondering if this was what they had been looking at during 
those long days and nights trapped in the steaming oven of their car; this or 
something like this, the muddy red eyes, the long sharp teeth 
A horn blared impatiently.
Pop screamed, his heart not only starting again but gunning, like the engine of 
a Formula One racing-car.
A van swerved around his sedan, still half in the driveway and half in the 
narrow residential street. The van's driver stuck his fist out his open window 
and his middle finger popped up.
'Eat my dick, you son of a whore!' Pop screamed. He backed the rest of the way 
out, but so jerkily that he bumped up over the curb on the far side of the 
street. He twisted the wheel viciously (inadvertently honking his horn in the 
process) and then drove off. But three blocks south he had to pull over and just 
sit there behind the wheel for ten minutes, waiting for the shakes to subside 
enough so he could drive.
So much for the Pus Sisters.
During the next five days, Pop ran through the remaining names on his mental 
list. His asking price, which had begun at twenty thousand dollars with McCarty 
and dropped to ten with the Pus Sisters (not that he had gotten far enough into 
the business to mention price in either case), dropped steadily as he ran out 
the string. He was finally left with Emory Chaffee, and the possibility of 
realizing perhaps twenty-five hundred.
Chaffee presented a fascinating paradox: in all Pop's experience with the Mad 
Hatters - an experience that was long and amazingly varied - Emory Chaffee was 
the only believer in the 'other world' who had absolutely no imagination 
whatsoever. That he had ever spared a single thought for the 'other world' with 
such a mind was surprising; that he believed in it was amazing; that he paid 
good money to collect objects connected with it was something Pop found 
absolutely astounding. Yet it was so, and Pop would have put Chaffee much higher 
on his fist save for the annoying fact that Chaffee was by far the least well 
off of what Pop thought of as his 'rich' Mad Hatters. He was doing a game but 
poor job of holding onto the last unravelling threads of what had once been a 
great family fortune. Hence, another large drop in Pop's asking price for 
Kevin's Polaroid.
But, he had thought, pulling his car into the overgrown driveway of what had in 
the twenties been one of Sebago Lake's finest summer homes and which was now 
only a step or two away from becoming one of Sebago Lake's shabbiest year-round 
homes (the Chaffee house in Portland's Bramhall district had been sold for taxes 
fifteen years before), if anyone'll buy this beshitted thing, I reckon Emory 
will.
The only thing that really distressed him - and it had done so more and more as 
he worked his way fruitlessly down the list - was the demonstration part. He 
could describe what the camera did until he was black in the face, but not even 
an odd duck like Emory Chaffee would lay out good money on the basis of a 
description alone.
Sometimes Pop thought it had been stupid to have Kevin take all those pictures 
so he could make that videotape. But when you got right down to where the bear 
shit in the buckwheat, he wasn't sure it would have made any difference. Time 
passed over there in that world (for, like Kevin, he had come to think of it as 
that: an actual world), and it passed much more slowly than it did in this one 
... but wasn't it speeding up as the dog approached the camera? Pop thought it 
was. The movement of the dog along the fence had been barely visible at first; 
now only a blind man could fail to see that the dog was closer each time the 
shutter was pressed. You could see the difference in distance even if you 
snapped two photographs one right after the other. It was almost as if time over 
there were trying to ... well, trying to catch up somehow, and get in sync with 
time over here.
If that had been all, it would have been bad enough. But it wasn't all.
That was no dog, goddammit.
POP didn't know what it was, but he knew as well as he knew his mother was 
buried in Homeland Cemetery that it was no dog.
He thought it had been a dog, when it had been snuffling its way along that 
picket fence which it had now left a good ten feet behind; it had looked like 
one, albeit an exceptionally mean one once it got its head turned enough so you 
could get a good look at its phiz.
But to Pop it now looked like no creature that had ever existed on God's earth, 
and probably not in Lucifer's hell, either. What troubled him even more was 
this: the few people for whom he had taken demonstration photographs did not 
seem to see this. They inevitably recoiled, inevitably said it was the ugliest, 
meanest-looking junkyard mongrel they had ever seen, but that was all. Not a 
single one of them suggested that the dog in Kevin's Sun 660 was turning into 
some kind of monster as it approached the photographer. As it approached the 
lens which might be some sort of portal between that world and this one.
Pop thought again (as Kevin had), But it could never get through. Never. If 
something is going to happen, I'll tell you what that something will be, because 
that thing is an ANIMAL, Maybe a goddam ugly one, a scary one, even, like the 
kind of thing a little kid imagines in his closet after his momma turns off the 
lights, but it's still an ANIMAL, and if anything happens it'll be this: 
there'll be one last pitcher where you can't see nothing but blur because that 
devil-dog will have jumped, you can see that's what it means to do, and after 
that the camera either won't work, or if it does, it won't take pitchers that 
develop into anything but 
Black squares, because you can't take pitchers with a camera that has a busted 
lens or with one that's broke right in two for that matter, and if whoever owns 
that shadow drops the camera when the devil-dog hits it and him, and I imagine 
he will, it's apt to fall on the sidewalk and it probably WILL break. Goddam 
thing's nothing but plastic, after all, and plastic and cement don't get along 
hardly at all.
But Emory Chaffee had come out on his splintery porch now, where the paint on 
the boards was flaking off and the boards themselves were warping out of true 
and the screens were turning the rusty color of dried blood and gaping holes in 
some of them; Emory Chaffee wearing a blazer which had once been a natty blue 
but had now been cleaned so many times it was the nondescript gray of an 
elevator operator's uniform; Emory Chaffee with his high forehead sloping back 
and back until it finally disappeared beneath what little hair he had left and 
grinning his Pip-pip, jolly good, old boy, jolly good, wot, wot? grin that 
showed his gigantic buck teeth and made him look the way Pop imagined Bugs Bunny 
would look if Bugs had suffered some cataclysmic mental retardation.
Pop took hold of the camera's strap - God, how he had come to hate the thing! 
-got out of his car, and forced himself to return the man's wave and grin.
Business, after all, was business.
'That's one ugly pup, wouldn't you say?'
Chaffee was studying the Polaroid which was now almost completely developed. Pop 
had explained what the camera did, and had been encouraged by Chaffee's frank 
interest and curiosity. Then he had given the Sun to the man, inviting him to 
take a picture of anything he liked.
Emory Chaffee, grinning that repulsive buck-toothed grin, swung the Polaroid 
Pop's way.
'Except me,' Pop said hastily. 'I'd ruther you pointed a shotgun at my head 
instead of that camera.'
'When you sell a thing, you really sell it,' Chaffee said admiringly, but he had 
obliged just the same, turning the Sun 660 toward the wide picture window with 
its view of the lake, a magnificent view that remained as rich now as the 
Chaffee family itself had been in those years which began after World War I, 
golden years which had somehow begun to turn to brass around 1970.
He pressed the shutter.
The camera whined.
Pop winced. He found that now he winced every time he heard that sound -that 
squidgy little whine. He had tried to control the wince and had found to his 
dismay that he could not.
'Yes, sir, one goddamned ugly brute!' Chaffee repeated after examining the 
developed picture, and Pop was sourly pleased to see that the repulsive 
buck-toothed wot-ho, bit-of-a-sticky-wicket grin had disappeared at last. The 
camera had been able to do that much, at least.
Yet it was equally clear to him that the man wasn't seeing what he, Pop, was 
seeing. Pop had had some preparation for this eventuality; he was, all the same, 
badly shaken behind his impassive Yankee mask. He believed that if Chaffee had 
been granted the power (for that was what it seemed to be) to see what Pop was 
seeing, the stupid fuck would have been headed for the nearest door, and at top 
speed.
The dog - well, it wasn't a dog, not anymore, but you had to call it something - 
hadn't begun its leap at the photographer yet, but it was getting ready; its 
hindquarters were simultaneously bunching and lowering toward the cracked 
anonymous sidewalk in a way that somehow reminded Pop of a kid's soupedup car, 
trembling, barely leashed by the clutch during the last few seconds of a red 
light; the needle on the rpm dial already standing straight up at 60 X 10, the 
engine screaming through chrome pipes, fat deep-tread tires ready to smoke the 
macadam in a hot soul-kiss.
The dog's face was no longer a recognizable thing at all. It had twisted and 
distorted into a carny freak-show thing that seemed to have but a single dark 
and malevolent eye, neither round nor oval but somehow runny, like the yolk of 
an egg that has been stabbed with the tines of a fork. Its nose was a black beak 
with deep flared holes drilled into either side. And was there smoke coming from 
those holes - like steam from the vents of a volcano? Maybe - or maybe that part 
was just imagination.
Don't matter, Pop thought. You just keep working that shutter, or letting people 
like this fool work it, and you are gonna find out, aren't you?
But he didn't want to find out. He looked at the black, murdering thing whose 
matted coat had caught perhaps two dozen wayward burdocks, the thing which no 
longer had fur, exactly, but stuff like living spikes, and a tail like a 
medieval weapon. He observed the shadow it had taken a damned snot-nosed kid to 
extract meaning from, and saw it had changed. One of the shadow-legs appeared to 
have moved a stride backward - a very long stride, even taking the effect of the 
lowering or rising sun (but it was going down; Pop had somehow become very sure 
it was going down, that it was night coming in that world over there, not day) 
into account.
The photographer over there in that world had finally discovered that his 
subject did not mean to sit for its portrait; that had never been a part of its 
plan. It intended to eat, not sit. That was the plan.
Eat, and, maybe, in some way he didn't understand, escape.
Find out! he thought ironically. Go ahead! Just keep taking pitchers! You'll 
find out! You'll find out PLENTY!
'And you, sir,' Emory Chaffee was saying, for he had only been stopped for a 
moment; creatures of little imagination are rarely stopped for long by such 
trivial things as consideration, 'are one hell of a salesman!'
The memory of McCarty was still very close to the surface of Pop's mind, and it 
still rankled.
'If you think it's a fake -' he began.
'A fake? Not at all! Not ... at all!' Chaffee's buck-toothed smile spread wide 
in all its repulsive splendor. He spread his hands in a surely-you-jest motion. 
'But I'm afraid, you see, that we can't do business on this particular item, Mr 
Merrill. I'm sorry to say so, but -'
'Why?' Pop bit off. 'If you don't think the goddam thing's a fake, why in the 
hell don't you want it?' And he was astonished to hear his voice rising in a 
kind of plaintive, balked fury. There had never been anything like this, never 
in the history of the world, Pop was sure of it, nor ever would be again. Yet it 
seemed he couldn't give the goddam thing away.
'But . . .' Chaffee looked puzzled, as if not sure how to state it, because 
whatever it was he had to say seemed so obvious to him. In that moment he looked 
like a pleasant but not very capable pre-school teacher trying to teach a 
backward child how to tie his shoes. 'But it doesn't do anything, does it?'
'Doesn't do anything?' Pop nearly screamed. He couldn't believe he had lost 
control of himself to such a degree as this, and was losing more all the time. 
What was happening to him? Or, cutting closer to the bone, what was the 
son-of-a-bitching camera doing to him? 'Doesn't do anything? What are you, 
blind? It takes pitchers of another world! It takes pitchers that move in time 
from one to the next, no matter where you take em or when you take em in this 
world! And that ... that thing ... that monster -'
Oh. Oh dear. He had finally done it. He had finally gone too far. He could see 
it in the way Chaffee was looking at him.
'But it's just a dog, isn't it?' Chaffee said in a low, comforting voice. It was 
the sort of voice you'd use to try and soothe a madman while the nurses ran for 
the cabinet where they kept the hypos and the knock-out stuff.
'Ayuh,' Pop said slowly and tiredly. 'Just a dog is all it is. But you said 
yourself it was a hell of an ugly brute.'
'That's right, that's right, I did,' Chaffee said, agreeing much too quickly. 
Pop thought if the man's grin got any wider and broader he might just be treated 
to the sight of the top three-quarters of the idiot's head toppling off into his 
lap. 'But ... surely you see, Mr Merrill ... what a problem this presents for 
the collector. The serious collector.'
'No, I guess I don't,' Pop said, but after running through the entire list of 
Mad Hatters, a list which had seemed so promising at first, he was beginning to. 
In fact, he was beginning to see a whole host of problems the Polaroid Sun 
presented for the serious collector. As for Emory Chaffee ... God knew what 
Emory thought, exactly.
'There are most certainly such things as ghost photographs,' Chaffee said in a 
rich, pedantic voice that made Pop want to strangle him. 'But these are not 
ghost photographs. They -'
'They're sure as hell not normal photographs!'
'My point exactly,' Chaffee said, frowning slightly. 'But what sort of 
photographs are they? One can hardly say, can one? One can only display a 
perfectly normal camera that photographs a dog which is apparently preparing to 
leap. And once it leaps, it will be gone from the frame of the picture. At that 
point, one of three things may happen. The camera may start taking normal 
pictures, which is to say, pictures of the things it is aimed at; it may take no 
more pictures at all, its one purpose, to photograph - to document ' one might 
even say - that dog, completed; or it may simply go on taking pictures of that 
white fence and the ill-tended lawn behind it.' He paused and added, 'I suppose 
someone might walk by at some point, forty photographs down the line - or four 
hundred - but unless the photographer raised his angle, which he doesn't seem to 
have done in any of these, one would only see the passerby from the waist down. 
More or less.' And, echoing Kevin's father without even knowing who Kevin's 
father was, he added: 'Pardon me for saying so, Mr Merrill, but you've shown me 
something I thought I'd never see: an inexplicable and almost irrefutable 
paranormal occurrence that is really quite boring.'
This amazing but apparently sincere remark forced Pop to disregard whatever 
Chaffee might think about his sanity and ask again: 'It really is only a dog, as 
far as you can see?' 
'Of course,' Chaffee said, looking mildly surprised. 'A stray mongrel that looks 
exceedingly bad-tempered.'
He sighed.
'And it wouldn't be taken seriously, of course. What I mean is it wouldn't be 
taken seriously by people who don't know you personally, Mr Merrill. People who 
aren't familiar with your honesty and reliability in these matters. It looks 
like a trick, you see? And not even a very good one. Something on the order of a 
child's Magic Eight-Ball.'
Two weeks ago, Pop would have argued strenuously against such an idea. But that 
was before he had been not walked but actually propelled from that bastard 
McCarty's house.
'Well, if that's your final word,' Pop said, getting up and taking the camera by 
the strap.
'I'm very sorry you made a trip to such little purpose,' Chaffee said ... and 
then his horrid grin burst forth again, all rubbery lips and huge teeth shining 
with spit. 'I was about to make myself a Spam sandwich when you drove in. Would 
you care to join me, Mr Merrill? I make quite a nice one, if I do say so myself. 
I add a little horseradish and Bermuda onion - that's my secret - and then I -'
'I'll pass,' Pop said heavily. As in the Pus Sisters' parlor, all he really 
wanted right now was to get out of here and put miles between himself and this 
grinning idiot. Pop had a definite allergy to places where he had gambled and 
lost. just lately there seemed to be a lot of those. Too goddam many. 'I already 
had m'dinner, is what I mean to say. Got to be getting back.'
Chaffee laughed fruitily. 'The lot of the toiler in the vineyards is busy but 
yields great bounty,' he said.
Not just lately, Pop thought. Just lately it ain't yielded no fucking bounty at 
all.
'It's a livin anyway,' Pop replied, and was eventually allowed out of the house, 
which was damp and chill (what it must be like to live in such a place come 
February, Pop couldn't imagine) and had that mousy, mildewed smell that might be 
rotting curtains and sofa-covers and such ... or just the smell money leaves 
behind when it has spent a longish period of time in a place and then departed. 
He thought the fresh October air, tinged with just a small taste of the lake and 
a stronger tang of pine-needles, had never smelled so good.
He got into his car and started it up. Emory Chaffee, unlike the Pus Sister who 
had shown him as far as the door and then closed it quickly behind him, as if 
afraid the sun might strike her and turn her to dust like a vampire, was 
standing on the front porch, grinning his idiot grin and actually waving, as if 
he were seeing Pop off on a goddam ocean cruise.
And, without thinking, just as he had taken the picture of (or at, anyway) the 
old black woman without thinking, he had snapped Chaffee and the 
just-starting-to-moulder house which was all that remained of the Chaffee family 
holdings. He didn't remember picking the camera up off the seat where he had 
tossed it in disgust before closing his door, was not even aware that the camera 
was in his hands or the shutter fired until he heard the whine of the mechanism 
shoving the photograph out like a tongue coated with some bland gray fluid -Milk 
of Magnesia, perhaps. That sound seemed to vibrate along his nerve-endings now, 
making them scream; it was like the feeling you got when something too cold or 
hot hit a new filling.
He was peripherally aware that Chaffee was laughing as if it was the best goddam 
joke in the world before snatching the picture from the slot in a kind of 
furious horror, telling himself he had imagined the momentary, blurred sound of 
a snarl, a sound like you might hear if a power-boat was approaching while you 
had your head ducked under water; telling himself he had imagined the momentary 
feeling that the camera had bulged in his hands, as if some huge pressure inside 
had pushed the sides out momentarily. He punched the glove-compartment button 
and threw the picture inside and then closed it so hard and fast that he tore 
his thumbnail all the way down to the tender quick.
He pulled out jerkily, almost stalling, then almost hitting one of the hoary old 
spruces which flanked the house end of the long Chaffee driveway, and all the 
way up that driveway he thought he could hear Emory Chaffee laughing in loud 
mindless cheery bellows of sound: Haw! Haw! Haw! Haw!
His heart slammed in his chest, and his head felt as if someone was using a 
sledgehammer inside there. The small cluster of veins which nestled in the 
hollows of each temple pulsed steadily.
He got himself under control little by little. Five miles, and the little man 
inside his head quit using the sledgehammer. Ten miles (by now he was almost 
halfway back to Castle Rock), and his heartbeat was back to normal. And he told 
himself: You ain't gonna look at it. YOU AIN'T. Let the goddam thing rot in 
there. You don't need to look at it, and you don't need to take no more of em, 
either. Time to mark the thing off as a dead loss. Time to do what you should 
have let the boy, do in the first place.
So of course when he got to the Castle View rest area, a turn-out from which you 
could, it seemed, see all of western Maine and half of New Hampshire, he swung 
in and turned off his motor and opened the glove compartment and brought out the 
picture which he had taken with no more intent or knowledge than a man might 
have if he did a thing while walking in his sleep. The photograph had developed 
in there, of course; the chemicals inside that deceptively flat square had come 
to life and done their usual efficient job. Dark or light, it didn't make any 
difference to a Polaroid picture.
The dog-thing was crouched all the way down now. It was as fully coiled as it 
was going to get, a trigger pulled back to full cock. Its teeth had outgrown its 
mouth so that the thing's snarl seemed now to be not only an expression of rage 
but a simple necessity; how could its lips ever fully close over those teeth? 
How could those jaws ever chew? It looked more like a weird species of wild boar 
than a dog now, but what it really looked like was nothing Pop had ever seen 
before. It did more than hurt his eyes to look at it; it hurt his mind. It made 
him feel as if he was going crazy.
Why not get rid of that camera right here? he thought suddenly. You can. Just 
get out, walk to the guardrail there, and toss her over. All gone. Goodbye.
But that would have been an impulsive act, and Pop Merrill belonged to the 
Reasonable tribe - belonged to it body and soul, is what I mean to say. He 
didn't want to do anything on the spur of the moment that he might regret later, 
and 
If you don't do this, you'll regret it later.
But no. And no. And no. A man couldn't run against his nature. It was unnatural. 
He needed time to think. To be sure.
He compromised by throwing the print out instead and then drove on quickly. For 
a minute or two he felt as if he might throw up, but the urge passed. When it 
did, he felt a little more himself. Safely back in his shop, he unlocked the 
steel box, took out the Sun, rummaged through his keys once more, and located 
the one for the drawer where he kept his 'special' items. He started to put the 
camera inside ... and paused, brow furrowed. The image of the chopping block out 
back entered his mind with such clarity, every detail crisply firmed, that it 
was like a photograph itself.
He thought: Never mind all that about how a man can't run against his nature. 
That's crap, and you know it. It ain't in a man's nature to eat dirt, but you 
could eat a whole bowl of it, by the bald-headed Christ, if someone with a gun 
pointed at your head told you to do it. You know what time it is, chummy - time 
to do what you should have let the boy do in the first place. After all, It 
ain't like you got any investment in this.
But at this, another part of his mind rose in angry, fist-waving protest. Yes I 
do! I do have an investment, goddammit! That kid smashed a perfectly good 
Polaroid camera! He may not know it, but that don't change the fact that I'm out 
a hundred and thirty-nine bucks!
'Oh, shit on toast!' he muttered agitatedly. 'It ain't that! It ain't the fuckin 
money!'
No - it wasn't the fucking money. He could at least admit that it wasn't the 
money. He could afford it; Pop could indeed have afforded a great deal, 
including his own mansion in Portland's Bramhall district and a brand-new 
Mercedes-Benz to go in the carport. He never would have bought those things - he 
pinched his pennies and chose to regard almost pathological miserliness as 
nothing more than good old Yankee thrift - but that didn't mean he couldn't have 
had them if he so chose.
It wasn't about money; it was about something more important than money ever 
could be. It was about not getting skinned. Pop had made a life's work out of 
not getting skinned, and on the few occasions when he had been, he had felt like 
a man with red ants crawling around inside his skull.
Take the business of the goddam Kraut record-player, for instance. When Pop 
found out that antique dealer from Boston - Donahue, his name had been - had 
gotten fifty bucks more than he'd ought to have gotten for a 1915 Victor-Graff 
gramophone (which had actually turned out to be a much more common 1919 model), 
Pop had lost three hundred dollars' worth of sleep over it, sometimes plotting 
various forms of revenge (each more wild-eyed and ridiculous than the last), 
sometimes just damning himself for a fool, telling himself he must really be 
slipping if a city man like that Donahue could skin Pop Merrill. And sometimes 
he imagined the fucker telling his poker-buddies about how easy it had been, 
hell, they were all just a bunch of rubes up there, he believed that if you 
tried to sell the Brooklyn Bridge to a fellow like that country mouse Merrill in 
Castle Rock, the damned fool would ask 'How much?' Then him and his cronies 
rocking back in their chairs around that poker-table (why he always saw them 
around such a table in this morbid daydream Pop didn't know, but he did), 
smoking dollar cigars and roaring with laughter like a bunch of trolls.
The business of the Polaroid was eating into him like acid, but he still wasn't 
ready to let go of the thing yet.
Not quite yet.
You're crazy! a voice shouted at him. You're crazy to go on with it!
'Damned if I'll eat it,' he muttered sulkily to that voice and to his empty 
shadowed store, which ticked softly to itself like a bomb in a suitcase. 'Damned 
if I will.'
But that didn't mean he had to go haring off on any more stupid goddam trips 
trying to sell the sonofawhore, and he certainly didn't mean to take any more 
pictures with it. He judged there were at least three more 'safe' ones left in 
it, and there were probably as many as seven, but he wasn't going to be the one 
to find out. Not at all.
Still, something might come up. You never knew. And it could hardly do him or 
anyone else any harm locked up in a drawer, could it?
'Nope,' Pop agreed briskly to himself. He dropped the camera inside, locked the 
drawer, repocketed his keys, and then went to the door and turned CLOSED over to 
OPEN with the air of a man who has finally put some nagging problem behind him 
for good.
CHAPTER 10
Pop woke up at three the next morning, bathed with sweat and peering fearfully 
into the dark. The clocks had just begun another weary run at the hour.
It was not this sound which awakened him, although it could have done, since he 
was not upstairs in his bed but down below, in the shop itself. The Emporium 
Galorium was a cave of darkness crowded with hulking shadows created by the 
streetlamps outside, which managed to send just enough light through the dirty 
plate-glass windows to create the unpleasant feeling of things hiding beyond the 
borders of vision.
It wasn't the clocks that woke him; it was the flash.
He was horrified to find himself standing in his pyjamas beside his worktable 
with the Polaroid Sun 660 in his hands. The 'special' drawer was open. He was 
aware that, although he had taken only a single picture, his finger had been 
pushing the button which triggered the shutter again and again and again. He 
would have taken a great many more than the one that protruded from the slot at 
the bottom of the camera but for simple good luck. There had only been a single 
picture left in the film pack currently in the camera.
Pop started to lower his arms - he had been holding the camera pointed toward 
the front of the shop, the viewfinder with its minute hairline crack held up to 
one open, sleeping eye - and when he got them down as far as his ribcage, they 
began to tremble and the muscles holding the hinges of his elbows just seemed to 
give way. His arms fell, his fingers opened, and the camera tumbled back into 
the 'special' drawer with a clatter. The picture he had taken slipped from the 
slot and fluttered. It struck one edge of the open drawer, teetered first one 
way as if it would follow the camera in, and then the other. It fell on the 
floor.
Heart attack, Pop thought incoherently. I'm gonna have a goddam Christing heart 
attack.
He tried to raise his right arm, wanting to massage the left side of his chest 
with the hand on the end of it, but the arm wouldn't come. The hand on the end 
of it dangled as limp as a dead man at the end of a hangrope. The world wavered 
in and out of focus. The sound of the clocks (the tardy ones were just finishing 
up) faded away to distant echoes. Then the pain in his chest diminished, the 
light seemed to come back a little, and he realized all he was doing was trying 
to faint.
He made to sit down in the wheeled chair behind the worktable, and the business 
of lowering himself into the seat, like the business of lowering the camera, 
began all right, but before he had gotten even halfway down, those hinges, the 
ones that strapped his thighs and calves together by way of his knees, also gave 
way and he didn't so much sit in the chair as cave into it. It rolled a foot 
backward, struck a crate filled with old Life and Look magazines, and stopped.
Pop put his head down, the way you were supposed to do when you felt 
lightheaded, and time passed. He had no idea at all, then or later, how much. He 
might even have gone back to sleep for a little while. But when he raised his 
head, he was more or less all right again. There was a steady dull throbbing at 
his temples and behind his forehead, probably because he had stuffed his goddam 
noodle with blood, hanging it over so long that way, but he found he could stand 
up and he knew what he had to do. When the thing had gotten hold of him so badly 
it could make him walk in his sleep, then make him (his mind tried to revolt at 
that verb, that make, but he wouldn't let it) take pictures with it, that was 
enough. He had no idea what the goddam thing was, but one thing was clear: you 
couldn't compromise with it.
Time to do what you should have let the boy do in the first place.
Yes. But not tonight. He was exhausted, drenched with sweat, and shivering. He 
thought he would have his work cut out for him just climbing the stairs to his 
apartment again, let alone swinging that sledge. He supposed he could do the job 
in here, simply pick it out of the drawer and dash it against the floor again 
and again, but there was a deeper truth, and he'd better own up to it: he 
couldn't have any more truck with that camera tonight. The morning would be time 
enough ... and the camera couldn't do any damage between now and then, could it? 
There was no film in it.
Pop shut the drawer and locked it. Then he got up slowly, looking more like a 
man pushing eighty than seventy, and tottered slowly to the stairs. He climbed 
them one at a time, resting on each, clinging to the bannister (which was none 
too solid itself) with one hand while he held his heavy bunch of keys on their 
steel ring in the other. At last he made the top. With the door shut behind him, 
he seemed to feel a little stronger. He went back into his bedroom and got into 
bed, unaware as always of the strong yellow smell of sweat and old man that 
puffed up when he lay down - he changed the sheets on the first of every month 
and called it good.
I won't sleep now, he thought, and then: Yes you will. You will because you can, 
and you can because tomorrow morning you're going to take the sledge and pound 
that fucking thing to pieces and there's an end to it.
This thought and sleep came simultaneously, and Pop slept without dreaming, 
almost without moving, all the rest of that night. When he woke he was 
astonished to hear the clocks downstairs seeming to chime an extra stroke, all 
of them: eight instead of seven. It wasn't until he looked at the light falling 
across the floor and wall in a slightly slanted oblong that he realized it 
really was eight; he had overslept for the first time in ten years. Then he 
remembered the night before. Now, in daylight, the whole episode seemed less 
weird; had he nearly fainted? Or was that maybe just a natural sort of weakness 
that came to a sleepwalker when he was unexpectedly wakened?
But of course, that was it, wasn't it? A little bright morning sunshine wasn't 
going to change that central fact: he had walked in his sleep, he had taken at 
least one picture and would have taken a whole slew of them if there had been 
more film in the pack.
He got up, got dressed, and went downstairs, meaning to see the thing in pieces 
before he even had his morning's coffee.
CHAPTER 11
Kevin wished his first visit to the two-dimensional town of Polaroidsville had 
also been his last visit there, but that was not the case. During the thirteen 
nights since the first one, he'd had the dream more and more often. If the dumb 
dream happened to take the night off - little vacation, Kev, but seeya soon, 
okay? - he was apt to have it twice the next night. Now he always knew it was a 
dream, and as soon as it started he would tell himself that all he had to do was 
wake himself up, dammit, just wake yourself up! Sometimes he did wake up, and 
sometimes the dream just faded back into deeper sleep, but he never succeeded in 
waking himself up.
It was always Polaroidsville now - never Oatley or Hildasville, those first two 
efforts of his fumbling mind to identify the place. And like the photograph, 
each dream took the action just a little bit further. First the man with the 
shopping-cart, which was never empty now even to start with but filled with a 
jumble of objects ... mostly clocks, but all from the Emporium Galorium, and all 
with the eerie look not of real things but rather of photographs of real things 
which had been cut out of magazines and then somehow, impossibly, paradoxically, 
stuffed into a shopping-cart, which, since it was as two-dimensional as the 
objects themselves, had no breadth in which to store them. Yet there they were, 
and the old man hunched protectively over them and told Kevin to get out, that 
he was a fushing feef ... only now he also told Kevin that if he didn't get out, 
'I'll sic Pop's dawg on you! Fee if I don't!'
The fat woman who couldn't be fat since she was perfectly flat but who was fat 
anyway came next. She appeared pushing her own shopping-cart filled with 
Polaroid Sun cameras. She also spoke to him before he passed her. 'Be careful, 
boy,' she'd say in the loud but toneless voice of one who is utterly deaf, 
'Pop's dog broke his leash and he's a mean un. He tore up three or four people 
at the Trenton Farm in Camberville before he came here. It's hard to take his 
pitcher, but you can't do it at all, 'less you have a cam'ra.'
She would bend to get one, would sometimes get as far as holding it out, and he 
would reach for the camera, not knowing why the woman would think he should take 
the dog's picture or why he'd want to ... or maybe he was just trying to be 
polite?
Either way, it made no difference. They both moved with the stately slowness of 
underwater swimmers, as dream-people so often do, and they always just missed 
making connections; when Kevin thought of this part of the dream, he often 
thought of the famous picture of God and Adam which Michelangelo had painted on 
the ceiling of the Sistine Chapel: each of them with an arm outstretched, and 
each with the hand at the end of the arm also outstretched, and the forefingers 
almost - not quite, but almost - touching.
Then she would disappear for a moment because she had no width, and when she 
reappeared again she was out of reach. Well just go back to her, then, Kevin 
would think each time the dream reached this point, but he couldn't. His feet 
carried him heedlessly and serenely onward to the peeling white picket fence and 
Pop and the dog ... only the dog was no longer a dog but some horrible mixed 
thing that gave off heat and smoke like a dragon and had the teeth and twisted, 
scarred snout of a wild pig. Pop and the Sun dog would turn toward him at the 
same time, and Pop would have the camera - his camera, Kevin knew, because there 
was a piece chipped out of the side - up to his right eye. His left eye was 
squinted shut. His rimless spectacles glinted on top of his head in hazy 
sunlight. Pop and the Sun dog had all three dimensions. They were the only 
things in this seedy, creepy little dreamtown that did.
'He's the one!' Pop cried in a shrill, fearful voice. 'He's the thief! Sic em, 
boy! Pull his fuckin guts out is what I mean to say!'
And as he screamed out this last, heatless lightning flashed in the day as Pop 
triggered the shutter and the flash, and Kevin turned to run. The dream had 
stopped here the second time he had had it. Now, on each subsequent occasion, 
things went a little further. Again he was moving with the aquatic slowness of a 
performer in an underwater ballet. He felt that, if he had been outside himself, 
he would even have looked like a dancer, his arms turning like the blades of a 
propeller just starting up, his shirt twisting with his body, pulling taut 
across his chest and his belly at the same time he heard the shirt's tail 
pulling free of his pants at the small of his back with a magnified rasp like 
sandpaper.
Then he was running back the way he came, each foot rising slowly and then 
floating dreamily (of course dreamily, what else, you fool? he would think at 
this point every time) back down until it hit the cracked and listless cement of 
the sidewalk, the soles of his tennis shoes flattening as they took his weight 
and spanking up small clouds of grit moving so slowly that he could see the 
individual particles revolving like atoms.
He ran slowly, yes, of course, and the Sun dog, nameless stray Grendel of a 
thing that came from nowhere and signified nothing and had all the sense of a 
cyclone but existed nevertheless, chased him slowly . . . but not quite as 
slowly.
On the third night, the dream faded into normal sleep just as Kevin began to 
turn his head in that dragging, maddening slow motion to see how much of a lead 
he had on the dog. It then skipped a night. On the following night it returned 
-twice. In the first dream he got his head halfway around so he could see the 
street on his left disappearing into limbo behind him as he ran along it; in the 
second (and from this one his alarm-clock woke him, sweating lightly in a 
crouched fetal position on the far side of the bed) he got his head turned 
enough to see the dog just as its forepaws came down in his own tracks, and he 
saw the paws were digging crumbly little craters in the cement because they had 
sprouted claws ... and from the back of each lower leg-joint there protruded a 
long thorn of bone that looked like a spur. The thing's muddy reddish eye was 
locked on Kevin. Dim fire blew and dripped from its nostrils. Jesus, Jesus 
Christ, its SNOT'S on fire, Kevin thought, and when he woke he was horrified to 
hear himself whispering it over and over, very rapidly: '. . . snot's on fire, 
snot's on fire, snot's on fire.'
Night by night the dog gained on him as he fled down the sidewalk. Even when he 
wasn't turning to look he could hear the Sun dog gaining. He was aware of a 
spread of warmth from his crotch and knew he was in enough fear to have wet 
himself, although the emotion came through in the same diluted, numbed way he 
seemed to have to move in this world. He could hear the Sun dog's paws striking 
the cement, could hear the dry crack and squall of the cement breaking. He could 
hear the hot blurts of its breath, the suck of air flowing in past those 
outrageous teeth.
And on the night Pop woke up to find he had not only walked in his sleep but 
taken at least one picture in it, Kevin felt as well as heard the Sun dog's 
breath for the first time: a warm rush of air on his buttocks like the sultry 
suck of wind a subway on an express run pulls through a station where it needn't 
stop. He knew the dog was close enough to spring on his back now, and that would 
come next; he would feel one more breath, this one not just warm but hot, as hot 
as acute indigestion in your throat, and then that crooked living bear-trap of a 
mouth would sink deep into the flesh of his back, between the shoulderblades, 
ripping the skin and meat off his spine, and did he think this was really just a 
dream? Did he?
He awoke from this last one just as Pop was gaining the top of the stairs to his 
apartment and resting one final time before going inside back to bed. This time 
Kevin woke sitting bolt upright, the sheet and blanket which had been over him 
puddled around his waist, his skin covered with sweat and yet freezing, a 
million stiff little white goose-pimples standing out all over his belly, chest, 
back, and arms like stigmata. Even his cheeks seemed to crawl with them.
And what he thought about was not the dream, or at least not directly; he 
thought instead: It's wrong, the number is wrong, it says three but it can't -
Then he flopped back and, in the way of children (for even at fifteen most of 
him was still a child and would be until later that day), he fell into a deep 
sleep again.
The alarm woke him at seven-thirty, as it always did on school mornings, and he 
found himself sitting up in bed again, wide-eyed, every piece suddenly in place. 
The Sun he had smashed hadn't been his Sun, and that was why he kept having this 
same crazy dream over and over and over again. Pop Merrill, that kindly old 
crackerbarrel philosopher and repairer of cameras and clocks and small 
appliances, had euchered him and his father as neatly and competently as a 
riverboat gambler does the tenderfeet in an old Western movie.
His father -!
He heard the door downstairs slam shut and leaped out of bed. He took two 
running strides toward the door in his underwear, thought better of it, turned, 
yanked the window up, and hollered 'Dad!' just as his father was folding himself 
into the car to go to work.
CHAPTER 12
Pop dredged his key-ring up from his pocket, unlocked the 'special' drawer, and 
took out the camera, once again being careful to hold it by the strap only. He 
looked with some hope at the front of the Polaroid, thinking he might see that 
the lens had been smashed in its latest tumble, hoping that the goddam thing's 
eye had been poked out, you might say, but his father had been fond of saying 
that the devil's luck is always in, and that seemed to be the case with Kevin 
Delevan's goddamned camera. The chipped place on the thing's side had chipped 
away a little more, but that was all.
He closed the drawer and, as he turned the key, saw the one picture he'd taken 
in his sleep lying face-down on the floor. As unable not to look at it as Lot's 
wife had been unable not to turn back and look at the destruction of Sodom, he 
picked it up with those blunt fingers that hid their dexterity from the world so 
well and turned it over.
The dog-creature had begun its spring. Its forepaws had barely left the ground, 
but along its misshapen backbone and in the bunches of muscle under the hide 
with its hair like the stiff filaments sticking out of black steel brushes he 
could see all that kinetic energy beginning to release itself. Its face and head 
were actually a little blurred in this photograph as its mouth yawned wider, and 
drifting up from the picture, like a sound heard under glass, he seemed to hear 
a low and throaty snarl beginning to rise toward a roar. The shadow-photographer 
looked as if he were trying to stumble back another pace, but what did it 
matter? That was smoke jetting from the holes in the dog-thing's muzzle, all 
right, smoke, and more smoke drifting back from the hinges of its open jaws in 
the little space where the croggled and ugly stake-wall of its teeth ended, and 
any man would stumble back from a horror like that, any man would try to turn 
and run, but all Pop had to do was look to tell you that the man (of course it 
was a man, maybe once it had been a boy, a teenage boy, but who had the camera 
now?) who had taken that picture in mere startled reflex, with a kind of wince 
of the finger ... that man didn't them, and all the difference it would make 
would be as to how he died: while he was on his feet or while he was on his ass.
Pop crumpled the picture between his fingers and then stuck his key-ring back 
into his pocket. He turned, holding what had been Kevin Delevan's Polaroid Sun 
660 and was now his Polaroid Sun 660 by the strap and started toward the back of 
the store; he would pause on the way just long enough to get the sledge. And as 
he neared the door to the back shed, a shutterflash, huge and white and 
soundless, went off not in front of his eyes but behind them, in his brain.
He turned back, and now his eyes were as empty as the eyes of a man who has been 
temporarily blinded by some bright light. He walked past the worktable with the 
camera now held in his hands at chest level, as one might carry a votive urn or 
some other sort of religious offering or relic. Halfway between the worktable 
and the front of the store was a bureau covered with clocks. To its left was one 
of the barnlike structure's support beams, and from a hook planted in this there 
hung another clock, an imitation German cuckoo clock. Pop grasped it by the roof 
and pulled it off its hook, indifferent to the counterweights, which immediately 
became entangled in one another's chains, and to the pendulum, which snapped off 
when one of the disturbed chains tried to twine around it. The little door below 
the roofpeak of the clock sprang ajar; the wooden bird poked out its beak and 
one startled eye. It gave a single choked sound - kook! - as if in protest of 
this rough treatment before creeping back inside again.
Pop hung the Sun by its strap on the hook where the clock had been, then turned 
and moved toward the back of the store for the second time, his eyes still blank 
and dazzled. He clutched the clock by its roof, swinging it back and forth 
indifferently, not hearing the cluds and clunks from inside it, or the 
occasional strangled sound that might have been the bird trying to escape, not 
noticing when one of the counterweights smacked the end of an old bed, snapped 
off, and went rolling beneath, leaving a deep trail in the undisturbed dust of 
years. He moved with the blank mindless purpose of a robot. In the shed, he 
paused just long enough to pick up the sledgehammer by its smooth shaft. With 
both hands thus filled, he had to use the elbow of his left arm to knock the 
hook out of the eyebolt so he could push open the shed door and walk into the 
backyard.
He crossed to the chopping block and set the imitation German cuckoo clock on 
it. He stood for a moment with his head inclined down toward it, both of his 
hands now on the handle of the sledge. His face remained blank, his eyes dim and 
dazzled, but there was a part of his mind which not only thought clearly but 
thought all of him was thinking - and acting - clearly. This part of him saw not 
a cuckoo clock which hadn't been worth much to begin with and was now broken in 
the bargain; it saw Kevin's Polaroid. This part of his mind really believed he 
had come downstairs, gotten the Polaroid from the drawer, and proceeded directly 
out back, pausing only to get the sledge.
And it was this part that would do his remembering later ... unless it became 
convenient for him to remember some other truth. Or any other truth, for that 
matter.
Pop Merrill raised the sledgehammer over his right shoulder and brought it down 
hard - not as hard as Kevin had done, but hard enough to do the job. It struck 
squarely on the roof of the imitation German cuckoo clock. The clock did not so 
much break or shatter as splatter; pieces of plastic wood and little gears and 
springs flew everywhere. And what that little piece of Pop which saw would 
remember (unless, of course, it became convenient to remember otherwise) were 
pieces of camera splattering everywhere.
He pulled the sledge off the block and stood for a moment with his meditating, 
unseeing eyes on the shambles. The bird, which to Pop looked exactly like a 
film-case, a Polaroid Sun film-case, was lying on its back with its little 
wooden feet sticking straight up in the air, looking both deader than any bird 
outside of a cartoon ever looked and yet somehow miraculously unhurt at the same 
time. He had his look, then turned and headed back toward the shed door.
'There,' he muttered under his breath. 'Good 'nuff.'
Someone standing even very close to him might have been unable to pick up the 
words themselves, but it would have been hard to miss the unmistakable tone of 
relief with which they were spoken.
'That's done. Don't have to worry about that anymore. Now what's next? 
Pipe-tobacco, isn't it?'
But when he got to the drugstore on the other side of the block fifteen minutes 
later, it was not pipe-tobacco he asked for (although that was what he would 
remember asking for). He asked for film.
Polaroid film.
CHAPTER 13
'Kevin, I'm going to be late for work if I don't -'
'Will you call in? Can you? Call in and say you'll be late, or that you might 
not get there at all? If it was something really, really, really important?'
Warily, Mr Delevan asked, 'What's the something?'
'Could you?'
Mrs Delevan was standing in the doorway of Kevin's bedroom now. Meg was behind 
her. Both of them were eyeing the man in his business suit and the tall boy, 
still wearing only his jockey shorts, curiously.
'I suppose I - yes, say I could. But I won't until I know what it is.'
Kevin lowered his voice, and, cutting his eyes toward the door, he said: 'It's 
about Pop Merrill. And the camera.'
Mr Delevan, who had at first only looked puzzled at what Kevin's eyes were 
doing, now went to the door. He murmured something to his wife, who nodded. Then 
he closed the door, paying no more attention to Meg's protesting whine than he 
would have to a bird singing a bundle of notes on a telephone wire outside the 
bedroom window.
'What did you tell Mom?' Kevin asked.
'That it was man-to-man stuff.' Mr Delevan smiled a little. 'I think she thinks 
you want to talk about masturbating.'
Kevin flushed.
Mr Delevan looked concerned. 'You don't, do you? I mean, you know about -'
'I know, I know,' Kevin said hastily; he was not about to tell his father (and 
wasn't sure he would have been able to put the right string of words together, 
even if he had wanted to) that what had thrown him momentarily off-track was 
finding out that not only did his father know about whacking off - which of 
course shouldn't have surprised him at all but somehow did, leaving him with 
feelings of surprise at his own surprise - but that his mother somehow did, too.
Never mind. All this had nothing to do with the nightmares, or with the new 
certainty which had locked into place in his head.
'It's about Pop, I told you. And some bad dreams I've been having. But mostly 
it's about the camera. Because Pop stole it somehow, Dad.'
'Kevin -'
'I beat it to pieces on his chopping block, I know. But it wasn't my camera. It 
was another camera. And that isn't even the worst thing. The worst thing is that 
he's still using mine to take pictures! And that dog is going to get out! When 
it does, I think it's going to kill me. In that other world it's already started 
to j-j-j ‘
He couldn't finish. Kevin surprised himself again - this time by bursting into 
tears.
By the time John Delevan got his son calmed down it was ten minutes of eight, 
and he had resigned himself to at least being late for work. He held the boy in 
his arms - whatever it was, it really had the kid shook, and if it really was 
nothing but a bunch of dreams, Mr Delevan supposed he would find sex at the root 
of the matter someplace.
When Kevin was shivering and only sucking breath deep into his lungs in an 
occasional dry-sob, Mr Delevan went to the door and opened it cautiously, hoping 
Kate had taken Meg downstairs. She had; the hallway was empty. That's one for 
our side, anyway, he thought, and went back to Kevin.
'Can you talk now?' he asked.
'Pop's got my camera,' Kevin said hoarsely. His red eyes, still watery, peered 
at his father almost myopically. 'He got it somehow, and he's using it.'
‘And this is something you dreamed?'
'Yes ... and I remembered something.'
'Kevin ... that was your camera. I'm sorry, son, but it was. I even saw the 
little chip in the side.'
'He must have rigged that somehow -'
'Kevin, that seems pretty farf -'
'Listen,' Kevin said urgently, 'will you just listen?'
'All right. Yes. I'm listening.'
'What I remembered was that when he handed me the camera - when we went out back 
to crunch it, remember?'
'Yes ... and I remembered something.'
'I looked in the little window where the camera keeps count of how many shots 
there are left. And it said three, Dad! It said three!'
'Well? What about it?'
'It had film in it, too! Film! I know, because I remember one of those shiny 
black things jumping up when I squashed the camera. It jumped up and then it 
fluttered back down.'
'I repeat: so what?'
'There wasn't any film in my camera when I gave it to Pop! That's so-what.'
I had twenty-eight pictures. He wanted me to take thirty more, for a total of 
fifty-eight. I might have bought more film if I'd known what he was up to, but 
probably not. By then I was scared of the thing
'Yeah. I was, a little, too.'
Kevin looked at him respectfully. 'Were you?'
'Yeah. Go on. I think I see where you're heading.'
'I was just going to say, he chipped in for the film, but not enough - not even 
half. He's a wicked skinflint, Dad.'
John Delevan smiled thinly. 'He is that, my boy. One of the world's greatest, is 
what I mean to say. Go on and finish up. Tempus is fugiting away like mad.'
Kevin glanced at the clock. It was almost eight. Although neither of them knew 
it, Pop would wake up in just under two minutes and start about his morning's 
business, very little of which he would remember correctly.
'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, moving toward the door, 'that we ought to pay a call on Pop 
Merrill.' He glanced at the clock on Kevin's night-table. It was ten minutes 
after eight, and in back of the Emporium Galorium, a sledgehammer was coming 
down on an imitation German cuckoo clock. 'He usually opens around eight-thirty. 
just about the time we'll get there, I think. If you get a wiggle on, that is.'
He paused on his way out and a brief, cold smile flickered on his mouth. He was 
not smiling at his son. 'I think he's got some explaining to do, is what I mean 
to say.'
Mr Delevan went out, closing the door behind him. Kevin quickly began to dress.
CHAPTER 14
The Castle Rock LaVerdiere's Super Drug Store was a lot more than just a 
drugstore. Put another way, it was really only a drugstore as an afterthought. 
It was as if someone had noticed at the last moment - just before the grand 
opening, say - that one of the words in the sign was still 'Drug.' That someone 
might have made a mental note to tell someone else, someone in the company's 
management, that here they were, opening yet another LaVerdiere's, and they had 
by simple oversight neglected yet again to correct the sign so it read more 
simply and accurately, LaVerdiere's Super Store ... and, after making the mental 
note, the someone in charge of noticing such things had delayed the grand 
opening a day or two so they could shoe-horn in a prescription counter about the 
size of a telephone booth in the long building's furthest, darkest, and most 
neglected corner.
The LaVerdiere's Super Drug Store was really more of a jumped-up five-and-dime 
than anything else. The town's last real five-and-dime, a long dim room with the 
feeble, fly-specked overhead globes hung on chains and reflected murkily in the 
creaking but often-waxed wooden floor, had been The Ben Franklin Store. It had 
given up the ghost in 1978 to make way for a video-games arcade called Galaxia 
and E-Z Video Rentals, where Tuesday was Toofers Day and no one under the age of 
twenty could go in the back room.
LaVerdiere's carried everything the old Ben Franklin had carried, but the goods 
were bathed in the pitiless light of Maxi-Glo fluorescent bars which gave every 
bit of stock its own hectic, feverish shimmer. Buy me! each item seemed to 
shriek. Buy me or you may die! Or your wife may die! Or your kids! Or your best 
friend! Possibly all of them at once! Why? How should I know? I'm just a 
brainless item sitting on a Pre-fab LaVerdiere's shelf! But doesn't it feel 
true? You know It does! So buy me and buy me RIGHT ... NOW!
There was an aisle of notions, two aisles of first-aid supplies and nostrums, an 
aisle of video and audio tapes (both blank and pre-recorded). There was a long 
rack of magazines giving way to paperback books, a display of lighters under one 
digital cash-register and a display of watches under another (a third register 
was hidden in the dark corner where the pharmacist lurked in his lonely 
shadows). Halloween candy had taken over most of the toy aisle (the toys would 
not only come back after Halloween but eventually take over two whole aisles as 
the days slid remorselessly down toward Christmas). And, like something too neat 
to exist in reality except as a kind of dumb admission that there was such a 
thing as Fate with a capital F, and that Fate might, in its own way, indicate 
the existence of that whole 'other world' about which Pop had never before cared 
(except in terms of how it might fatten his pocketbook, that was) and about 
which Kevin Delevan had never before even thought, at the front of the store, in 
the main display area, was a carefully arranged work of salesmanship which was 
billed as the FALL FOTO FESTIVAL.
This display consisted of a basket of colorful autumn leaves spilling out on the 
floor in a bright flood (a flood too large to actually have come from that one 
basket alone, a careful observer might have concluded). Amid the leaves were a 
number of Kodak and Polaroid cameras - several Sun 660s among the latter - and 
all sorts of other equipment: cases, albums, film, flashbars. In the midst of 
this odd cornucopia, an old-fashioned tripod rose like one of H. G. Wells's 
Martian death-machines towering over the crispy wreck of London. It bore a sign 
which told all patrons interested enough to look that this week one could obtain 
SUPER REDUCTIONS ON ALL POLAROID CAMERAS & ACCESSORIES!
At eight-thirty that morning, half an hour after LaVerdiere's opened for the 
day, 'all patrons' consisted of Pop Merrill and Pop alone. He took no notice of 
the display but marched straight to the only open counter, where Molly Durham 
had just finished laying out the watches on their imitationvelvet display-cloth.
Oh no, here comes old Eyeballs, she thought, and grimaced. Pop's idea of a 
really keen way to kill a stretch of time about as long as Molly's coffee-break 
was to kind of ooze up to the counter where she was working (he always picked 
hers, even if he had to stand in line; in fact, she thought he liked it better 
when there was a line) and buy a pouch of Prince Albert tobacco. This was a 
purchase an ordinary fellow could transact in maybe thirty seconds, but if she 
got Eyeballs out of her face in under three minutes, she thought she was doing 
very well indeed. He kept all of his money in a cracked leather purse on a 
chain, and he'd haul it out of his pocket - giving his doorbells a good feel on 
the way, it always looked to Molly - and then open it. It always gave out a 
little screee-eek! noise, and honest to God if you didn't expect to see a moth 
flutter out of it, just like in those cartoons people draw of tightwads. On top 
of the purse's contents there would be a whole mass of paper money, bills that 
looked somehow as if you shouldn't handle them, as if they might be coated with 
disease germs of some kind, and jingling silver underneath. Pop would fish out a 
dollar bill and then kind of hook the other bills to one side with one of those 
thick fingers of his to get to the change underneath - he'd never give you a 
couple of bucks, hunh-uh, that would make everything go too quick to suit him - 
and then he'd work that out, too. And all the time his eyes would be busy, 
flicking down to the purse for a second or two but mostly letting the fingers 
sort out the proper coins by touch while his eyes crawled over her boobs, her 
belly, her hips, and then back up to her boobs again. Never once her face; not 
even so far as her mouth, which was a part of a girl in which most men seemed to 
be interested; no, Pop Merrill was strictly interested in the lower portions of 
the female anatomy. When he finally finished - and no matter how quick that was, 
it always seemed like three times as long to Molly - and got the hell out of the 
store again, she always felt like going somewhere and taking a long shower.
So she braced herself, put on her best 
it's-only-eight-thirty-and-I've-got-seven-and-a-half-hours-to-go smile, and 
stood at the counter as Pop approached. She told herself, He's only looking at 
you, guys have been doing that since you sprouted, and that was true, but this 
wasn't the same. Because Pop Merrill wasn't like most of the guys who had run 
their eyes over her trim and eminently watchable superstructure since that time 
ten years ago. Part of it was that Pop was old, but that wasn't all of it. The 
truth was that some guys looked at you and some - a very few - seemed to 
actually be feeling you up with their eyes, and Merrill was one of those. His 
gaze actually seemed to have weight; when he fumbled in his creaky old-maid's 
purse on its length of incongruously masculine chain, she seemed to actually 
feel his eyes squirming up and down her front, lashing their way up her hills on 
their optic nerves like tadpoles and then sliding bonelessly down into her 
valleys, making her wish she had worn a nun's habit to work that day. Or maybe a 
suit of armor.
But her mother had been fond of saying What can't be cured must be endured, 
sweet Molly, and until someone discovered a method of weighing gazes so those of 
dirty men both young and old could be outlawed, or, more likely, until Pop 
Merrill did everyone in Castle Rock a favor by dying so that eyesore of a 
tourist trap he kept could be torn down, she would just have to deal with it as 
best she could.
But today she was in for a pleasant surprise - or so it seemed at first. Pop's 
usual hungry appraisal was not even an ordinary patron's look; it seemed utterly 
blank. It wasn't that he looked through her, or that his gaze struck her and 
bounced off. It seemed to Molly that he was so deep in his thoughts that his 
usually penetrating look did not even reach her, but made it about halfway and 
then petered out - like a man trying to locate and observe a star on the far 
side of the galaxy with just the naked eye.
'May I help you, Mr Merrill?' she asked, and her feet were already cocking so 
she could turn quickly and reach up for where the pouches of tobacco were kept. 
With Pop, this was a task she always did as quickly as possible, because when 
she turned and reached, she could feel his eyes crawling busily over her ass, 
dropping for a quick check of her legs, then rising again to her butt for a 
final ocular squeeze and perhaps a pinch before she turned back.
'Yes,' he said calmly and serenely, and he might as well have been talking to 
one of those automated bank machines for all the interest in her he showed. That 
was fine by Molly. 'I'd like some' and then either a word she didn't hear right 
or one that was utter gibberish. If it was gobbledegook, she thought with some 
hope, maybe the first few parts of the complicated network of dykes, levees, and 
spillways the old crock had constructed against the rising sea of senility were 
finally giving way.
It sounded as if he had said toefilmacco, which wasn't a product they stocked 
... unless it was a prescription drug of some sort.
'I beg pardon, Mr Merrill?'
'Film,' he said, so clearly and firmly that Molly was more than disappointed; 
she was convinced he must have said it just that way the first time and her ears 
had picked it up wrong. Maybe she was the one who was beginning to lose her 
dykes and levees.
'What kind would you like?'
'Polaroid,' he said. 'Two packs.' She didn't know exactly what was going on 
here, but it was beyond doubt that Castle Rock's premier dirty old man was not 
himself today. His eyes would still not focus, and the words ... they reminded 
her of something, something she associated with her five-year-old niece, Ellen, 
but she couldn't catch hold of it.
'For what model, Mr Merrill?'
She sounded brittle and actressy to herself, but Pop Merrill didn't even come 
close to noticing. Pop was lost in the ozone.
After a moment's consideration in which he did not look at her at all but seemed 
instead to study the racks of cigarettes behind her left shoulder, he jerked 
out: 'For a Polaroid Sun camera. Model 660.' And then it came to her, even as 
she told him she'd have to get it from the display. Her niece owned a big soft 
panda toy, which she had, for reasons which would probably make sense only to 
another little girl, named Paulette. Somewhere inside of Paulette was an 
electronic circuit-board and a memory chip on which were stored about four 
hundred short, simple sentences such as 'I like to hug, don't you?' and 'I wish 
you'd never go away.' Whenever you poked Paulette above her fuzzy little navel, 
there was a brief pause and then one of those lovesome little remarks would come 
out, almost jerk out, in a somehow remote and emotionless voice that seemed by 
its tone to deny the content of the words. Ellen thought Paulette was the nuts. 
Molly thought there was something creepy about it; she kept expecting Ellen to 
poke the panda-doll in the guts someday and it would surprise them all (except 
for Aunt Molly from Castle Rock) by saying what was really on its mind. 'I think 
tonight after you're asleep I'll strangle you dead,' perhaps, or maybe just 'I 
have a knife.'
Pop Merrill sounded like Paulette the stuffed panda this morning. His blank gaze 
was uncannily like Paulette's. Molly had thought any change from the old man's 
usual leer would be a welcome one. She had been wrong.
Molly bent over the display, for once totally unconscious of the way her rump 
was poking out, and tried to find what the old man wanted as quickly as she 
could. She was sure that when she turned around, Pop would be looking at 
anything but her. This time she was right. When she had the film and started 
back (brushing a couple of errant fall leaves from one of the boxes), Pop was 
still staring at the cigarette racks, at first glance appearing to look so 
closely he might have been inventorying the stock. It took a second or two to 
see that that expression was no expression at all, really, but a gaze of almost 
divine blankness.
Please get out of here, Molly prayed. Please, just take your film and go. And 
whatever else you do, don't touch me. Please.
If he touched her while he was looking like that, Molly thought she would 
scream. Why did the place have to be empty? Why couldn't at least one other 
customer be in here, preferably Sheriff Pangborn, but since he seemed to be 
otherwise engaged, anyone at all? She supposed Mr Constantine, the pharmacist, 
was in the store someplace, but the drug counter looked easily a quarter of a 
mile away, and while she knew it couldn't be that far, not really, it was still 
too far for him to reach her in a hurry if old man Merrill decided to touch her. 
And suppose Mr Constantine had gone out to Nan's for coffee with Mr Keeton from 
the selectmen's office? The more she thought about that possibility, the more 
likely it seemed. When something genuinely weird like this happened, wasn't it 
an almost foregone conclusion that it should happen while one was alone?
He's having a mental breakdown of some kind.
She heard herself saying with glassy cheerfulness: 'Here you are, Mr Merrill.' 
She put the film on the counter and scooted to her left and behind the register 
at once, wanting it between her and him.
The ancient leather purse came out of Pop Merrill's pants, and her stuttering 
fingers miskeyed the purchase so she had to clear the register and start again.
He was holding two ten-dollar bills out to her.
She told herself they were only rumpled from being squashed up with the other 
bills in that little pocket-book, probably not even old, although they looked 
old. That didn't stop her galloping mind, however. Her mind insisted that they 
weren't just rumpled, they were rumpled and slimy. It further insisted that old 
wasn't the right word, that old wasn't even in the ballpark. For those 
particular items of currency, not even the word ancient would do. Those were 
prehistoric tens, somehow printed before Christ was born and Stonehenge was 
built, before the first low-browed, no-neck Neanderthal had crawled out of his 
cave. They belonged to a time when even God had been a baby.
She didn't want to touch them.
She had to touch them.
The man would want his change.
Steeling herself, she took the bills and shoved them into the cash register as 
fast as she could, banging a finger so hard she ripped most of the nail clear 
off, an ordinarily exquisite pain she would not notice, in her extreme state of 
distress, until sometime later ... when, that was, she had chivvied her willing 
mind around enough to scold herself for acting like a whoopsy little girl on the 
edge of her first menstrual period.
At the moment, however, she only concentrated on getting the bills into the 
register as fast as she could and getting her hand off them, but even later she 
would remember what the surfaces of those tens had felt like. It felt as if they 
were actually crawling and moving under the pads of her fingers; as if billions 
of germs, huge germs almost big enough to be seen with the naked eye, were 
sliding along them toward her, eager to infect her with whatever he had.
But the man would want his change.
She concentrated on that, lips pressed together so tightly they were dead white; 
four singles that did not, absolutely did not want to come out from beneath the 
roller that held them down in the cash drawer. Then a dime, but oh 
jesus-please-us, there were no dimes, and what the hell was wrong with her, what 
had she done to be saddled for so long with this weird old man on the one 
morning in recorded history when he actually seemed to want to get out of here 
in a hurry?
She fished out a nickel, feeling the silent, stinky loom of him so close to her 
(and she felt that when she was finally forced to look up she would see he was 
even closer, that he was leaning over the counter toward her), then three 
pennies, four, five ... but the last one dropped back into the drawer among the 
quarters and she had to fish for it with one of her cold, numb fingers. It 
almost squirted away from her again; she could feel sweat popping out on the 
nape of her neck and on the little strip of skin between her nose and her upper 
lip. Then, clutching the coins tightly in her fist and praying he wouldn't have 
his hand outstretched to receive them so she would have to touch his dry, 
reptilian skin, but knowing, somehow knowing that he would she looked up, 
feeling her bright and cheery LaVerdiere's smile stretching the muscles of her 
face in a kind of frozen scream, trying to steel herself for even that, telling 
herself it would be the last, and never mind the image her stupid, insisting 
mind kept trying to make her see, an image of that dry hand suddenly snapping 
shut over hers like the talon of some old and horrid bird, a bird not of prey, 
no, not even that, but one of carrion; she told herself she did not see those 
images, absolutely did NOT, and, seeing them all the same, she looked up with 
that smile screaming off her face as brightly as a cry of murder on a hot still 
night, and the store was empty.
Pop was gone.
He had left while she was making change.
Molly began to shudder all over. If she had needed concrete proof that the old 
geezer was not right, this was it. This was proof positive, proof indubitable, 
proof of the purest ray serene: for the first time in her memory (and in the 
living memory of the town, she would have bet, and she would have won her bet), 
Pop Merrill, who refused to tip even on those rare occasions when he was forced 
to eat in a restaurant that had no take-out service, had left a place of 
business without waiting for his change.
Molly tried to open her hand and let go of the four ones, the nickel, and the 
five pennies. She was stunned to find she couldn't do it. She had to reach over 
with her other hand and pry the fingers loose. Pop's change dropped to the glass 
top of the counter and she swept it off to one side, not wanting to touch it.
And she never wanted to see Pop Merrill again.
CHAPTER 15
Pop's vacant gaze held as he left LaVerdiere's. It held as he crossed the 
sidewalk with the boxes of film in his hand. It broke and became an expression 
of somehow unsettling alertness as he stepped off into the gutter ... and 
stopped there, with one foot on the sidewalk and one planted amid the litter of 
squashed cigarette butts and empty potato-chip bags. Here was another Pop Molly 
would not have recognized, although there were those who had been sharp-traded 
by the old man who would have known it quite well. This was neither Merrill the 
lecher nor Merrill the robot, but Merrill the animal with its wind up. All at 
once he was there, in a way he seldom allowed himself to be there in public. 
Showing so much of one's true self in public was not, in Pop's estimation, a 
good idea. This morning, however, he was far from being in command of himself, 
and there was no one out to observe him, anyway. If there had been, that person 
would not have seen Pop the folksy crackerbarrel philosopher or even Pop the 
sharp trader, but something like the spirit of the man. In that moment of being 
totally there, Pop looked like a rogue dog himself, a stray who has gone feral 
and now pauses amid a midnight henhouse slaughter, raggedy ears up, head cocked, 
bloodstreaked teeth showing a little as he hears some sound from the farmer's 
house and thinks of the shotgun with its wide black holes like a figure eight 
rolled onto its side. The dog knows nothing of figure eights, but even a dog may 
recognize the dim shape of eternity if its instincts are honed sharp enough.
Across the town square he could see the urine-yellow front of the Emporium 
Galorium, standing slightly apart from its nearest neighbors: the vacant 
building which had housed The Village Washtub until earlier that year, Nan's 
Luncheonette, and You Sew and Sew, the dress-and-notions shop run by Evvie 
Chalmers's great-granddaughter, Polly - a woman of whom we must speak at another 
time.
There were slant-parking spaces in front of all the shops on Lower Main Street, 
and all of them were empty ... except for one, which was just now being filled 
with a Ford station-wagon Pop recognized. The light throb of its engine was 
clearly audible in the morning-still air. Then it cut off, the brakelights went 
out, and Pop pulled back the foot which had been in the gutter and prudently 
withdrew himself to the corner of LaVerdiere's. Here he stood as still as that 
dog who has been alerted in the henhouse by some small sound, the sort of sound 
which might be disregarded in the killing frenzy of dogs neither so old nor so 
wise as this one.
John Delevan got out from behind the wheel of the station-wagon. The boy got out 
on the passenger side. They went to the door of the Emporium Galorium. The man 
began to knock impatiently, loud enough so the sound of it came as clearly to 
Pop as the sound of the engine had done. Delevan paused, they both listened, and 
then Delevan started in again, not knocking now but hammering at the door, and 
you didn't have to be a goddam mind-reader to know the man was steamed up.
They know, Pop thought. Somehow they know. Damned good thing I smashed the 
fucking camera.
He stood a moment longer, nothing moving except his hooded eyes, and then he 
slipped around the corner of the drugstore and into the alley between it and the 
neighboring bank. He did it so smoothly that a man fifty years younger might 
have envied the almost effortless agility of the movement.
This morning, Pop figured, it might be a little wiser to go back home by 
backyard express.
CHAPTER 16
When there was still no answer, John Delevan went at the door a third time, 
hammering so hard he made the glass rattle loosely in its rotting putty gums and 
hurting his hand. It was hurting his hand that made him realize how angry he 
was. Not that he felt the anger was in any way unjustified if Merrill had done 
what Kevin thought he had done - and yes, the more he thought about it, the more 
John Delevan was sure that Kevin was right. But he was surprised that he hadn't 
recognized the anger for what it was until just now.
This seems to be a morning for learning about myself, he thought, and there was 
something schoolmarmish in that. It allowed him to smile and relax a little.
Kevin was not smiling, nor did he look relaxed.
'It seems like one of three things has happened,' Mr Delevan said to his son. 
'Merrill's either not up, not answering the door, or he figured we were getting 
warm and he's absconded with your camera.' He paused, then actually laughed. 'I 
guess there's a fourth, too. Maybe he died in his sleep.'
'He didn't die.' Kevin now stood with his head against the dirty glass of the 
door he mightily wished he had never gone through in the first place. He had his 
hands cupped around his eyes to make blinders, because the sun rising over the 
east side of the town square ran a harsh glare across the glass. 'Look.'
Mr Delevan cupped his own hands to the sides of his face and pressed his nose to 
the glass. They stood there side by side, backs to the square, looking into the 
dimness of the Emporium Galorium like the world's most dedicated 
window-shoppers. 'Well,' he said after a few seconds, 'it looks like if he 
absconded he left his shit behind.'
'Yeah - but that's not what I mean. Do you see it?'
'See what?'
'Hanging on that post. The one by the bureau with all the clocks on it.'
And after a moment, Mr Delevan did see it: a Polaroid camera, hanging by its 
strap from a hook on the post. He thought he could even see the chipped place, 
although that might have been his imagination. 
It's not your imagination.
The smile faded off his lips as he realized he was starting to feel what Kevin 
was feeling: the weird and distressing certainty that some simple yet terribly 
dangerous piece of machinery was running ... and unlike most of Pop's clocks, it 
was running right on time.
'Do you think he's just sitting upstairs and waiting for us to go away?' Mr 
Delevan spoke aloud, but he was really talking to himself. The lock on the door 
looked both new and expensive ... but he was willing to bet that if one of them 
-probably Kevin was in better shape - hit the door hard enough, it would rip 
right through the old wood. He mused randomly: A lock is only as good as the 
door you put it in. People never think.
Kevin turned his strained face to look at his father. In that moment, John 
Delevan was as struck by Kevin's face as Kevin had been by his not long ago. He 
thought: I wonder how many fathers get a chance to see what their sons will look 
like as men? He won't always look this strained, this tightly drawn - God, I 
hope not - but this is what he will look like. And, Jesus, he's going to be 
handsome!
He, like Kevin, had that one moment in the midst of whatever it was that was 
going on here, and the moment was a short one, but he also never forgot; it was 
always within his mind's reach.
'What?' Kevin asked hoarsely. 'What, Dad?'
'You want to bust it? Because I'd go along.'
'Not yet. I don't think we'll have to. I don't think he's here ... but he's 
close.'
You can't know any such thing. Can't even think it.
But his son did think it, and he believed Kevin was right. Some sort of link had 
been formed between Pop and his son. 'Some sort' of link? Get serious. He knew 
perfectly well what the link was. It was that fucking camera hanging on the wall 
in there, and the longer this went on, the longer he felt that machinery 
running, its gears grinding and its vicious unthinking cogs turning, the less he 
liked it.
Break the camera, break the camera, he thought, and said: 'Are you sure, Kev?'
'Let's go around to the back. Try the door there.'
'There's a gate. He'll keep it locked.'
'Maybe we can climb over.'
'Okay,' Mr Delevan said, and followed his son down the steps of the Emporium 
Galorium and around to the alley, wondering as he went if he had lost his mind.
But the gate wasn't locked. Somewhere along the line Pop had forgotten to lock 
it, and although Mr Delevan hadn't liked the idea of climbing over the fence, or 
maybe falling over the fence, quite likely tearing the hell out of his balls in 
the process, he somehow liked the open gate even less. All the same, he and 
Kevin went through it and into Pop's littered backyard, which not even the 
drifts of fallen October leaves could improve.
Kevin wove his way through the piles of junk Pop had thrown out but not bothered 
to take to the dump, and Mr Delevan followed him. They arrived at the chopping 
block at about the same time Pop was coming out of Mrs Althea Linden's backyard 
and onto Mulberry Street, a block west. He would follow Mulberry Street until he 
reached the offices of the Wolf Jaw Lumber Company. Although the company's pulp 
trucks would already be coursing the roads of western Maine and the yowl and 
yark of the cutters' chainsaws would have been rising from the area's 
diminishing stands of hardwood since six-thirty or so, no one would come in to 
man the office until nine, which was still a good fifteen minutes away. At the 
rear of the lumber company's tiny backyard was a high board fence. It was gated, 
and this gate was locked, but Pop had the key. He would unlock the gate and step 
through into his own backyard.
Kevin reached the chopping block. Mr Delevan caught up, followed his son's gaze, 
and blinked. He opened his mouth to ask what in the hell this was all about, 
then shut it again. He was starting to have an idea of what in the hell it was 
all about without any aid from Kevin. It wasn't light to have such ideas, wasn't 
natural, and he knew from bitter experience (in which Reginald Marion 'Pop' 
Merrill himself had played a part at one point, as he had told his son not so 
long ago) that doing things on impulse was a good way to reach the wrong 
decision and go flying off half-cocked, but it didn't matter. Although he did 
not think it in such terms, it would be fair to say Mr Delevan just hoped he 
could apply for readmittance to the Reasonable tribe when this was over.
At first he thought he was looking at the smashed remains of a Polaroid camera. 
Of course that was just his mind, trying to find a little rationality in 
repetition; what lay on and around the chopping block didn't look anything at 
all like a camera, Polaroid or otherwise. All those gears and flywheels could 
only belong to a clock. Then he saw the dead cartoon-bird and even knew what 
kind of clock. He opened his mouth to ask Kevin why in God's name Pop would 
bring a cuckoo clock out back and then sledgehammer it to death. He thought it 
over again and decided he didn't have to ask, after all. The answer to that was 
also beginning to come. He didn't want it to come, because it pointed to madness 
on what seemed to Mr Delevan a grand scale, but that didn't matter; it came 
anyway.
You had to hang a cuckoo clock on something. You had to hang it because of the 
pendulum weights. And what did you hang it on? Why, a hook, of course.
Maybe a hook sticking out of a beam.
Like the beam Kevin's Polaroid had been hanging on.
Now he spoke, and his words seemed to come from some long distance away: 'What 
in the hell is wrong with him, Kevin? Has he gone nuts?'
'Not gone,' Kevin answered, and his voice also seemed to come from some long 
distance away as they stood above the chopping block, looking down on the busted 
timepiece. 'Driven there. By the camera.'
'We've got to smash it,' Mr Delevan said. His voice seemed to float to his ears 
long after he had felt the words coming out of his mouth.
'Not yet,' Kevin said. 'We have to go to the drugstore first. They're having a 
special sale on them.'
'Having a special sale on wh-’
Kevin touched his arm. John Delevan looked at him. Kevin's head was up, and he 
looked like a deer scenting fire. In that moment the boy was more than handsome; 
he was almost divine, like a young poet at the hour of his death.
'What?' Mr Delevan asked urgently.
'Did you hear something?' Alertness slowly changing to doubt.
'A car on the street,' Mr Delevan said. How much older was he than his son? he 
wondered suddenly. Twenty-five years? Jesus, wasn't it time he started acting 
it?
He pushed the strangeness away from him, trying to get it at arm's length. He 
groped desperately for his maturity and found a little of it. Putting it on was 
like putting on a badly tattered overcoat.
'You sure that's all it was, Dad?'
'Yes. Kevin, you're wound up too tight. Get hold of yourself or . Or what? But 
he knew, and laughed shakily. 'Or you'll have us both running like a pair of 
rabbits.'
Kevin looked at him thoughtfully for a moment, like someone coming out of a deep 
sleep, perhaps even a trance, and then nodded. 'Come on.'
'Kevin, why? What do you want? He could be upstairs, just not answering 0'
'I'll tell you when we get there, Dad. Come on.' And almost dragged his father 
out of the littered backyard and into the narrow alleyway.
'Kevin, do you want to take my arm off, or what?' Mr Delevan asked when they got 
back to the sidewalk.
'He was back there,' Kevin said. 'Hiding. Waiting for us to go. I felt him.'
'He was -' Mr Delevan stopped, then started again. 'Well ... let's say he was. 
Just for argument, let's say he was. Shouldn't we go back there and collar him?' 
And, belatedly: 'Where was he?'
'On the other side of the fence,' Kevin said. His eyes seemed to be floating. Mr 
Delevan liked this less all the time. 'He's already been. He's already got what 
he needs. We'll have to hurry.'
Kevin was already starting for the edge of the sidewalk, meaning to cut across 
the town square to LaVerdiere's. Mr Delevan reached out and grabbed him like a 
conductor grabbing a fellow he's caught trying to sneak aboard a train without a 
ticket. 'Kevin, what are you talking about?'
And then Kevin actually said it: looked at him and said it. 'It's coming, Dad. 
Please. It's my life.' He looked at his father, pleading with his pallid face 
and his fey, floating eyes. 'The dog is coming. It won't do any good to just 
break in and take the camera. It's gone way past that now. Please don't stop me. 
Please don't wake me up. It's my life.'
Mr Delevan made one last great effort not to give in to this creeping craziness 
... and then succumbed.
'Come on,' he said, hooking his hand around his son's elbow and almost dragging 
him into the square. 'Whatever it is, let's get it done.' He paused. 'Do we have 
enough time?'
'I'm not sure,' Kevin said, and then, reluctantly: 'I don't think so.'
CHAPTER 17
Pop waited behind the board fence, looking at the Delevans through a knothole. 
He had put his tobacco in his back pocket so that his hands would be free to 
clench and unclench, clench and unclench.
You're on my property, his mind whispered at them, and if his mind had had the 
power to kill, he would have reached out with it and struck them both dead. 
You're on my property, goddammit, you're on my property!
What he ought to do was go get old John Law and bring him down on their fancy 
Castle View heads. That was what he ought to do. And he would have done it, too, 
right then, if they hadn't been standing over the wreckage of the camera the boy 
himself had supposedly destroyed with Pop's blessing two weeks ago. He thought 
maybe he would have tried to bullshit his way through anyway, but he knew how 
they felt about him in this town. Pangborn, Keeton, all the rest of them. Trash. 
That's what they thought of him. Trash.
Until they got their asses in a crack and needed a fast loan and the sun was 
down, that was.
Clench, unclench. Clench, unclench.
They were talking, but Pop didn't bother listening to what they were saying. His 
mind was a fuming forge. Now the litany had become: They're on my goddam 
property and I can't do a thing about it! They're on my goddam property and I 
can't do a thing about It! Goddam them! Goddam them!
At last they left. When he heard the rusty screech of the gate in the alley, Pop 
used his key on the one in the board fence. He slipped through and ran across 
the yard to his back door - ran with an unsettling fleetness for a man of 
seventy, with one hand clapped firmly against his upper right leg, as if, fleet 
or not, he was fighting a bad rheumatism pain there. In fact, Pop was feeling no 
pain at all. He didn't want either his keys or the change in his purse jingling, 
that was all. In case the Delevans were still there, lurking just beyond where 
he could see. Pop wouldn't have been surprised if they were doing just that. 
When you were dealing with skunks, you expected them to get up to stinking 
didos.
He slipped his keys out of his pocket. Now they rattled, and although the sound 
was muted, it seemed very loud to him. He cut his eyes to the left for a moment, 
sure he would see the brat's staring sheep's face. Pop's mouth was set in a 
hard, strained grin of fear. There was no one there.
Yet, anyway.
He found the right key, slipped it into the lock, and went in. He was careful 
not to open the door to the shed too wide, because the hinges picked up a squeal 
when you exercised them too much.
Inside, he turned the thumb-bolt with a savage twist and then went into the 
Emporium Galorium. He was more than at home in these shadows. He could have 
negotiated the narrow, junk-lined corridors in his sleep ... had, in fact, 
although that, like a good many other things, had slipped his mind for the time 
being.
There was a dirty little side window near the front of the store that looked out 
upon the narrow alleyway the Delevans had used to trespass their way into his 
backyard. It also gave a sharply angled view on the sidewalk and part of the 
town common.
Pop slipped up to this window between piles of useless, valueless magazines that 
breathed their dusty yellow museum scent into the dark air. He looked out into 
the alley and saw it, was empty. He looked to the right and saw the Delevans, 
wavery as fish in an aquarium through this dirty, flawed glass, crossing the 
common just below the bandstand. He didn't watch them out of sight in this 
window or go to the front windows to get a better angle on them. He guessed they 
were going over to LaVerdiere's, and since they had already been here, they 
would be asking about him. What could the little counter-slut tell them? That he 
had been and gone. Anything else?
Only that he had bought two pouches of tobacco.
Pop smiled.
That wasn't likely to hang him.
He found a brown bag, went out back, started for the chopping block, considered, 
then went to the gate in the alleyway instead. Careless once didn't mean a body 
had to be careless again.
After the gate was locked, he took his bag to the chopping block and picked up 
the pieces of shattered Polaroid camera. He worked as fast as he could, but he 
took time to be thorough.
He picked up everything but little shards and splinters that could be seen as no 
more than anonymous litter. A Police Lab investigating unit would probably be 
able to ID some of the stuff left around; Pop had seen TV crime shows (when he 
wasn't watching X-rated movies on his VCR, that was) where those scientific 
fellows went over the scene of a crime with little brushes and vacuums and even 
pairs of tweezers, putting things in little plastic bags, but the Castle Rock 
Sheriffs Department didn't have one of those units. And Pop doubted if Sheriff 
Pangborn could talk the State Police into sending their crime wagon, even if 
Pangborn himself could be persuaded to make the effort - not for what was no 
more than a case of camera theft, and that was all the Delevans could accuse him 
of without sounding crazy. Once he had policed the area, he went back inside, 
unlocked his 'special' drawer, and deposited the brown bag inside. He relocked 
the drawer and put his keys back in his pocket. That was all right, then. He 
knew all about search warrants, too. It would be a snowy day in hell before the 
Delevans could get Pangborn into district court to ask for one of those. Even if 
he was crazy enough to try, the remains of the goddamned camera would be gone - 
permanently - long before they could turn the trick. To try and dispose of the 
pieces for good right now would be more dangerous than leaving them in the 
locked drawer. The Delevans would come back and catch him right in the middle of 
it. Best to wait.
Because they would be back.
Pop Merrill knew that as well as he knew his own name.
Later, perhaps, after all this hooraw and foolishment died down, he would be 
able to go to the boy and say Yes. That's right. Everything you think I did, I 
did. Now why don't we just leave her alone and go back to not knowin each other 
... all right? We can afford to do that. You might not think so, at least not at 
first, but we can. Because look - you wanted to bust it up because you thought 
it was dangerous, and I wanted to sell it because I thought it was valuable. 
Turned out you was right and I was wrong, and that's all the revenge you're ever 
gonna need. If you knew me better, you'd know why - there ain't many men in this 
town that have ever heard me say such a thing. It sticks in my gut, is what I 
mean to say, but that don't matter; when I'm wrong, I like to think I'm big 
enough to own up to it, no matter how bad it hurts. In the end, boy, I did what 
you meant to do in the first place. We all came out on the same street, is what 
I mean to say, and I think we ought to let bygones be bygones. I know what you 
think of me, and I know what I think of you, and neither of us would ever vote 
for the other one to be Grand Marshal in the annual Fourth of July parade, but 
that's all right; we can live with that, can't we? What I mean to say is just 
this: we're both glad that goddam camera is gone, so let's call it quits and 
walk away.
But that was for later, and even then it was only perhaps. It wouldn't do for 
right now, that was for sure. They would need time to cool down. Right now both 
of them would be raring to tear a chunk out of his ass, like
(the dog in that pitcher)
like ... well, never mind what they'd be like. The important thing was to be 
down here, business as usual and as innocent as a goddam baby when they got 
back.
Because they would be back.
But that was all right. It was all right because 'B'cause things are under 
control,' Pop whispered. 'That's what I mean to say.'
Now he did go to the front door, and switched the CLOSED sign over to OPEN (he 
then turned it promptly back to CLOSED again, but this Pop did not observe 
himself doing, nor would he remember it later). All right; that was a start. 
What was next? Make it look like just another normal day, no more and no less. 
He had to be all surprise and what-in-the-tarnation-are-you-talking-about when 
they came back with steam coming out of their collars, all ready to do or die 
for what had already been killed just as dead as sheepdip.
So ... what was the most normal thing they could find him doing when they came 
back, with Sheriff Pangborn or without him?
Pop's eye fixed on the cuckoo clock hanging from the beam beside that nice 
bureau he'd gotten at an estate sale in Sebago a month or six weeks ago. Not a 
very nice cuckoo clock, probably one originally purchased with trading stamps by 
some soul trying to be thrifty (people who could only try to be thrifty were, in 
Pop's estimation, poor puzzled souls who drifted through life in a vague and 
constant state of disappointment). Still, if he could put it right so it would 
run a little, he could maybe sell it to one of the skiers who would be up in 
another month or two, somebody who needed a clock at their cottage or ski-lodge 
because the last bargain had up and died and who didn't understand yet (and 
probably never would) that another bargain wasn't the solution but the problem.
Pop would feel sorry for that person, and would dicker with him or her as fairly 
as he thought he could, but he wouldn't disappoint the buyer. Caveet emperor was 
not only what he meant to say but often did say, and he had a living to make, 
didn't he?
Yes. So he would just sit back there at his worktable and fuss around with that 
clock, see if he could get it running, and when the Delevans got back, that was 
what they would find him doing. Maybe there'd even be a few prospective 
customers browsing around by then; he could hope, although this was always a 
slack time of year. Customers would be icing on the cake, anyway. The important 
thing was how it would look: just a fellow with nothing to hide, going through 
the ordinary motions and ordinary rhythms of his ordinary day.
Pop went over to the beam and took the cuckoo clock down, being careful not to 
tangle up the counterweights. He carried it back to his worktable, humming a 
little. He set it down, then felt his back pocket. Fresh tobacco. That was good, 
too.
Pop thought he would have himself a little pipe while he worked.
CHAPTER 18
'You can't know he was in here, Kevin!' Mr Delevan was still protesting feebly 
as they went into LaVerdiere's.
Ignoring him, Kevin went straight to the counter where Molly Durham stood. Her 
urge to vomit had passed off, and she felt much better. The whole thing seemed a 
little silly now, like a nightmare you have and then wake up from and after the 
initial relief you think: I was afraid of THAT? How could I ever have thought 
THAT was really happening to me, even in a dream?
But when the Delevan boy presented his drawn white face at the counter, she knew 
how you could be afraid, yes, oh yes, even of things as ridiculous as the things 
which happened in dreams, because she was tumbled back into her own waking 
dreamscape again.
The thing was, Kevin Delevan had almost the same look on his face: as though he 
were so deep inside somewhere that when his voice and his gaze finally reached 
her, they seemed almost expended.
'Pop Merrill was in here,' he said. 'What did he buy?'
'Please excuse my son,' Mr Delevan said. 'He's not feeling w -'
Then he saw Molly's face and stopped. She looked like she had just seen a man 
lose his arm to a factory machine.
'Oh!' she said. 'Oh my God!'
'Was it film?' Kevin asked her.
'What's wrong with him?' Molly asked faintly. 'I knew something was the minute 
he walked in. What is it? Has he ... done something?'
Jesus, John Delevan thought. He DOES know. It's all true, then.
At that moment, Mr Delevan made a quietly heroic decision: he gave up entirely. 
He gave up entirely and put himself and what he believed could and could not be 
true entirely in his son's hands.
'It was, wasn't it?' Kevin pressed her. His urgent face rebuked her for her 
flutters and tremors. 'Polaroid film. From that.' He pointed at the display.
'Yes.' Her complexion was as pale as china; the bit of rouge she had put on that 
morning stood out in hectic, flaring patches. 'He was so ... strange. Like a 
talking doll. What's wrong with him? What -'
But Kevin had whirled away, back to his father.
'I need a camera,' he rapped. 'I need it right now. A Polaroid Sun 660. They 
have them. They're even on special. See?'
And in spite of his decision, Mr Delevan's mouth would not quite let go of the 
last clinging shreds of rationality. 'Why -' he began, and that was as far as 
Kevin let him get.
'I don't KNOW why!' he shouted, and Molly Durham moaned. She didn't want to 
throw up now; Kevin Delevan was scary, but not that scary. What she wanted to do 
right now was simply go home and creep up to her bedroom and draw the covers 
over her head. 'But we have to have it, and time's almost up, Dad!'
'Give me one of those cameras,' Mr Delevan said, drawing his wallet out with 
shaking hands, unaware that Kevin had already darted to the display.
'Just take one,' she heard a trembling voice entirely unlike her own say. 'Just 
take one and go.'
CHAPTER 19
Across the square, Pop Merrill, who believed he was peacefully repairing a cheap 
cuckoo clock, innocent as a babe in arms, finished loading Kevin's camera with 
one of the film packs. He snapped it shut. It made its squidgy little whine.
Damn cuckoo sounds like he's got a bad case of laryngitis. Slipped a gear, I 
guess. Well, I got the cure for that.
'I'll fix you,' Pop said, and raised the camera. He applied one blank eye to the 
viewfinder with the hairline crack which was so tiny you didn't even see it when 
you got your eye up to it. The camera was aimed at the front of the store, but 
that didn't matter; wherever you pointed it, it was aimed at a certain black dog 
that wasn't any dog God had ever made in a little town called for the want of a 
better word Polaroidsville, which He also hadn't ever made.
FLASH!
That squidgy little whine as Kevin's camera pushed out a new picture.
'There,' Pop said with quiet satisfaction. 'Maybe I'll do more than get you 
talking, bird. What I mean to say is I might just get you singing. I don't 
promise, but I'll give her a try.'
Pop grinned a dry, leathery grin and pushed the button again.
FLASH!
They were halfway across the square when John Delevan saw a silent white light 
fill the dirty windows of the Emporium Galorium. The light was silent, but 
following it, like an aftershock, he heard a low, dark rumble that seemed to 
come to his ears from the old man's junk-store ... but only because the old 
man's junk-store was the only place it could find a way to get out. Where it 
seemed to be emanating from was under the earth ... or was it just that the 
earth itself seemed the only place large enough to cradle the owner of that 
voice?
'Run, Dad!' Kevin cried. 'He's started doing it!'
That flash recurred, lighting the windows like a heatless stroke of electricity. 
It was followed by that subaural growl again, the sound of a sonic boom in a 
wind-tunnel, the sound of some animal which was horrible beyond comprehension 
being kicked out of its sleep.
Mr Delevan, helpless to stop himself and almost unaware of what he was doing, 
opened his mouth to tell his son that a light that big and bright could not 
possibly be coming from the built-in flash of a Polaroid camera, but Kevin had 
already started to run.
Mr Delevan began to run himself, knowing perfectly well what he meant to do: 
catch up to his son and collar him and drag him away before something dreadful 
beyond his grasp of all dreadful things could happen.
CHAPTER 20
The second Polaroid Pop took forced the first one out of the slot. It fluttered 
down to the top of the desk, where it landed with a thud heavier than such a 
square of chemically treated cardboard could possibly make. The Sun dog filled 
almost the entire frame now; the foreground was its impossible head, the black 
pits of the eyes, the smoking, teeth-filled jaws. The skull seemed to be 
elongating into a shape like a bullet or a teardrop as the dog-thing's speed and 
the shortening distance between it and the lens combined to drive it further out 
of focus. Only the tops of the pickets in the fence behind it were visible now; 
the bulk of the thing's flexed shoulders ate up the rest of the frame.
Kevin's birthday string tie, which had rested next to the Sun camera in his 
drawer, showed at the bottom of the frame, winking back a shaft of hazy 
sunlight.
'Almost got you, you son of a whore,' Pop said in a high, cracked voice. His 
eyes were blinded by the light. He saw neither dog nor camera. He saw only the 
voiceless cuckoo which had become his life's mission. 'You'll sing, damn you! 
I'll make you sing!'
FLASH!
The third picture pushed the second from the slot. It fell too fast, more like a 
chunk of stone than a square of cardboard, and when it hit the desk, it dug 
through the ancient frayed blotter there and sent startled splinters flying up 
from the wood beneath.
In this picture, the dog's head was torn even further out of focus., it had 
become a long column of flesh that gave it a strange, almost three-dimensional 
aspect.
In the third one, still poking out of the slot in the bottom of the camera, the 
Sun dog's snout seemed, impossibly, to be coming back into focus again. It was 
impossible because it was as close to the lens as it could get; so close it 
seemed to be the snout of some sea-monster just below that fragile meniscus we 
call the surface.
'Damn thing still ain't quite right,' Pop said.
His finger pushed the Polaroid's trigger again.
CHAPTER 21
Kevin ran up the steps of the Emporium Galorium. His father reached for him, 
caught nothing but the air an inch from the fluttering tail of Kevin's shirt, 
stumbled, and landed on the heels of his hands. They slid across the second step 
from the top, sending a quiver of small splinters into his skin.
'Kevin!'
He looked up and for a moment the world was almost lost in another of those 
dazzling white flashes. This time the roar was much louder. It was the sound of 
a crazed animal on the verge of making its weakening cage give it up. He saw 
Kevin with his head down, one hand shielding his eyes from the white glare, 
frozen in that stroboscopic light as if he himself had turned into a photograph. 
He saw cracks like quicksilver jig-jag their way down the show windows.
'Kevin, look ou -'
The glass burst outward in a glittery spray and Mr Delevan ducked his own head. 
Glass flew around him in a squall. He felt it patter into his hair and both 
cheeks were scratched, but none of the glass dug deeply into either the boy or 
the man; most of it had been pulverized to crumbs.
There was a splintering crunch. He looked up again and saw that Kevin had gained 
entry just as Mr Delevan had thought they might earlier: by ramming the 
now-glassless door with his shoulder and tearing the new locking bolt right 
through the old, rotted wood.
'KEVIN, GODDAMMIT!' he bawled. He got up, almost stumbled to one knee again as 
his feet tangled together, then lurched upright and plunged after his son.
Something had happened to the goddam cuckoo clock. Something bad.
It was striking again and again - bad enough, but that wasn't all. It had also 
gained weight in Pop's hands ... and it seemed to be growing uncomfortably hot, 
as well.
Pop looked down at it, and suddenly tried to scream in horror through jaws which 
felt as if they had been wired together somehow.
He realized he had been struck blind, and he also suddenly realized that what he 
held was not a cuckoo clock at all.
He tried to make his hands relax their death-grip on the camera and was 
horrified to find he could not open his fingers. The field of gravity around the 
camera seemed to have increased. And the horrid thing was growing steadily 
hotter. Between Pop's splayed, white-nailed fingers, the gray plastic of the 
camera's housing had begun to smoke.
His right index finger began to crawl upward toward the red shutter-button like 
a crippled fly.
'No,' he muttered, and then, in a plea: 'Please .'
His finger paid no attention. It reached the red button and settled upon it just 
as Kevin slammed his shoulder into the door and burst in. Glass from the door's 
panes crunched and sprayed.
Pop didn't push the button. Even blind, even feeling the flesh of his fingers 
begin to smoulder and scorch, he knew he didn't push the button. But as his 
finger settled upon it, that gravitational field first seemed to double, then 
treble. He tried to hold his finger up and off the button. It was like trying to 
hold the push-up position on the planet Jupiter.
'Drop it!' the kid screamed from somewhere out on the rim of his darkness. 'Drop 
it, drop it!'
'No!' Pop screamed back. 'What I mean to say is I CAN'T!'
The red button began to slide in toward its contact point.
Kevin was standing with his legs spread, bent over the camera they had just 
taken from LaVerdiere's, the box it had come in lying at his feet. He had 
managed to hit the button that released the front of the camera on its hinge, 
revealing the wide loading slot. He was trying to jam one of the film packs into 
it, and it stubbornly refused to go - it was as if this camera had turned 
traitor, too, possibly in sympathy to its brother.
Pop screamed again, but this time there were no words, only an inarticulate cry 
of pain and fear. Kevin smelled hot plastic and roasting flesh. He looked up and 
saw the Polaroid was melting, actually melting, in the old man's frozen hands. 
Its square, boxy silhouette was rearranging itself into an odd, hunched shape. 
Somehow the glass of both the viewfinder and the lens had also become plastic. 
Instead of breaking or popping out of the camera's increasingly shapeless shell, 
they were elongating and drooping like taffy, becoming a pair of grotesque eyes 
like those in a mask of tragedy.
Dark plastic, heated to a sludge like warm wax, ran over Pop's fingers and the 
backs of his hands in thick runnels, carving troughs in his flesh. The plastic 
cauterized what it burned, but Kevin saw blood squeezing from the sides of these 
runnels and dripping down Pop's flesh to strike the table in smoking droplets 
which sizzled like hot fat.
'Your film's still wrapped up!' his father bawled from behind him, breaking 
Kevin's paralysis. 'Unwrap it! Give it to me!'
His father reached around him, bumping Kevin so hard he almost knocked him over. 
He snatched the film pack, with its heavy paper-foil wrapping still on it, and 
ripped the end. He stripped it off.
'HELP ME!' Pop screeched; the last coherent words either of them heard him say.
'Quick!' His father yelled, putting the fresh film pack back in his hands. 
'Quick!'
The sizzle of hot flesh. The patter of hot blood on the desk, what had been a 
shower now becoming a storm as the bigger veins and arteries in Pop's fingers 
and the backs of his hands began to let go. A brook of hot, running plastic 
braceleted his left wrist and the bundle of veins so close to the surface there 
let go, spraying out blood as if through a rotten gasket which has first begun 
to leak in several places and now begins to simply disintegrate under the 
insistent, beating pressure.
Pop howled like an animal.
Kevin tried to jam the film pack in again and cried out 'Fuck!' as it still 
refused to go.
'It's backwards!' Mr Delevan hollered. He tried to snatch the camera from Kevin, 
and Kevin tore away, leaving his father with a scrap of shirt and no more. He 
pulled the film pack out and for a moment it jittered on the ends of his 
fingers, almost dropping to the floor - which, he felt, longed to actually hump 
itself up into a fist and smash it when it came down.
Then he had it, turned it around, socked it home, and slammed the front of the 
camera, which was hanging limply downward like a creature with a broken neck, 
shut on its hinge.
Pop howled again, and 
FLASH!
CHAPTER 22
This time it was like standing in the center of a sun which goes supernova in 
one sudden, heatless gust of light. Kevin felt as if his shadow had actually 
been hammered off his heels and driven into the wall. Perhaps this was at least 
partly true, for all of the wall behind him was instantly flash-baked and 
threaded with a thousand crazy cracks except for one sunken area where his 
shadow fell. His outline, as clear and unmistakable as a silhouette cut-out, was 
tattooed there with one elbow stuck out in a flying wedge, caught and frozen 
even as the arm which cast the shadow left its frozen image behind, rising to 
bring the new camera up to his face.
The top of the camera in Pop's hands tore free of the rest with a thick sound 
like a very fat man clearing his throat. The Sun dog growled, and this time that 
bass thunder was loud enough, clear enough, near enough, to shatter the glass in 
the fronts of the clocks and to send the glass in the mirrors and in the frames 
of pictures belching across the floor in momentary crystal arcs of amazing and 
improbable beauty.
The camera did not moan or whine this time; the sound of its mechanism was a 
scream, high and drilling, like a woman who is dying in the throes of a breech 
delivery. The square of paper which shoved and bulled its way out of that 
slitted opening smoked and fumed. Then the dark delivery-slot itself began to 
melt, one side drooping downward, the other wrinkling upward, all of it 
beginning to yawn like a toothless mouth. A bubble was forming upon the shiny 
surface of the last picture, which still hung in the widening mouth of the 
channel from which the Polaroid Sun gave birth to its photographs.
As Kevin watched, frozen, looking through a curtain of flashing, zinging dots 
that last white explosion had put in front of his eyes, the Sun dog roared 
again. The sound was smaller now, with less of that sense that it was coming 
from beneath and from everywhere, but it was also more deadly because it was 
more real, more here.
Part of the dissolving camera blew backward in a great gray gobbet, striking Pop 
Merrill's neck and expanding into a necklace. Suddenly both Pop's jugular vein 
and carotid artery gave way in spraying gouts of blood that jetted upward and 
outward in bright-red spirals. Pop's head whipped bonelessly backward.
The bubble on the surface of the picture grew. The picture itself began to 
jitter in the yawning slot at the bottom of the now-decapitated camera. Its 
sides began to spread, as if the picture was no longer on cardboard at all but 
some flexible substance like knitted nylon. It wiggled back and forth in the 
slot, and Kevin thought of the cowboy boots he had gotten for his birthday two 
years ago, and how he had had to wiggle his feet into them, because they were a 
little too tight.
The edges of the picture struck the edges of the camera delivery slot, where 
they should have stuck firmly. But the camera was no longer a solid; was, in 
fact, losing all resemblance to what it had been. The edges of the picture 
sliced through its sides as cleanly as the razor-sharp sides of a good 
doubleedged knife slide through tender meat. They poked through what had been 
the Polaroid's housing, sending gray drops of smoking plastic flying into the 
dim air. One landed in a dry, crumbling stack of old Popular Mechanics magazines 
and burrowed a fuming, charred hole into them.
The dog roared again, an angry, ugly sound - the cry of something with nothing 
but rending and killing on its mind. Those things, and nothing else.
The picture teetered on the edge of the sagging, dissolving slit, which now 
looked more like the bell of some misshapen wind instrument than anything else, 
and then fell forward to the desk with the speed of a stone tumbling into a 
well.
Kevin felt a hand claw at his shoulder.
'What's it doing?' his father asked hoarsely. 'Jesus Christ almighty, Kevin, 
what's it doing?'
Kevin heard himself answer in a remote, almost disinterested voice: 'Being 
born.'
CHAPTER 23
Pop Merrill died leaning back in the chair behind his worktable, where he had 
spent so many hours sitting: sitting and smoking; sitting and fixing things up 
so they would run for at least awhile and he could sell the worthless to the 
thoughtless; sitting and loaning money to the impulsive and the improvident 
after the sun went down. He died staring up at the ceiling, from which his own 
blood dripped back down to splatter on his cheeks and into his open eyes.
His chair overbalanced and spilled his lolling body onto the floor. His purse 
and his key-ring clattered.
On his desk, the final Polaroid continued to jiggle about restlessly. Its sides 
spread apart, and Kevin seemed to sense some unknown thing, both alive and not 
alive, groaning in horrid, unknowable labor pains.
'We've got to get out of here,' his father panted, pulling at him. John 
Delevan's eyes were large and frenzied, riveted on that spreading, moving 
photograph which now covered half of Merrill's worktable. It no longer resembled 
a photograph at all. Its sides bulged out like the cheeks of someone trying 
frantically to whistle. The shiny bubble, now a foot high, humped and shuddered. 
Strange, unnameable colors raced aimlessly back and forth across a surface which 
seemed to have broken some oily sort of sweat. That roar' full of frustration 
and purpose and frantic hunger, ripped through his brain again and again, 
threatening to split it and let in madness.
Kevin pulled away from him, ripping his shirt along the shoulder. His voice was 
full of a deep, strange calm. 'No - it would just come after us. I think it 
wants me, because if it wanted Pop it's already got him and I was the one who 
owned the camera first, anyway. But it wouldn't stop there. It'd take you, too. 
And it might not stop there, either.'
'You can't do anything!' his father screamed.
'Yes,' Kevin said. 'I've got one chance.'
And raised the camera.
The edges of the picture reached the edges of the worktable. Instead of lolling 
over, they curled up and continued to twist and spread. Now they resembled odd 
wings which were somehow equipped with lungs and were trying to breathe in some 
tortured fashion.
The entire surface of the amorphous, pulsing thing continued to puff up; what 
should have been flat surface had become a horrid tumor. its lumped and cratered 
sides trickling with vile liquid. It gave off the bland smell of head cheese.
The dog's roars had become continuous, the trapped and furious belling of a 
hell-hound bent on escape, and some of the late Pop Merrill's clocks began to 
strike again and again, as if in protest.
Mr Delevan's frantic urge to escape had deserted him; he felt overcome by a deep 
and dangerous lassitude, a kind of lethal sleepiness.
Kevin held the camera's viewfinder to his eye. He had only been deerhunting a 
few times, but he remembered how it was when it was your turn to wait, hidden, 
with your rifle as your hunting partners walked through the woods toward you, 
deliberately making as much noise as they could, hoping to drive something out 
of the trees and into the clearing where you were waiting, your field of fire a 
safe angle that would cross in front of the men. You didn't have to worry about 
hitting them; you only had to worry about hitting the deer.
There was time to wonder if you could hit it, when and if it showed itself. 
There was also time to wonder if you could bring yourself to fire at all. Time 
to hope that the deer would remain hypothetical, so the test did not have to be 
made ... and so it had always turned out to be. The one time there had been a 
deer, his father's friend Bill Roberson had been lying up in the blind. Mr 
Roberson had put the bullet just where you were supposed to put it, at the 
juncture of neck and shoulder, and they had gotten the game-warden to take their 
pictures around it, a twelve-point buck any man would be happy to brag on.
Bet you wish it'd been your turn in the puckies, don't you, son? the game-warden 
had asked, ruffling Kevin's hair (he had been twelve then, the growth spurt 
which had begun about seventeen months ago and which had so far taken him to 
just an inch under six feet still a year away ... which meant he had not been 
big enough to be resentful of a man who wanted to ruffle his hair). Kevin had 
nodded, keeping his secret to himself. he was glad it hadn't been his turn in 
the puckies, his the rifle which must be responsible for throwing the slug or 
not throwing it ... and, if he had turned out to have the courage to do the 
shooting, his reward would have been only another troublesome responsibility: to 
shoot the buck clean. He didn't know if he could have mustered the courage to 
put another bullet in the thing if the kill wasn't clean, or the strength to 
chase the trail of its blood and steaming, startled droppings and finish what he 
had started if it ran.
He had smiled up at the game-warden and nodded and his dad had snapped a picture 
of that, and there had never been any need to tell his dad that the thought 
going on behind that upturned brow and under the game-warden's ruffling hand had 
been No. I don't wish it. The world is full of tests, but twelve's too young to 
go hunting them. I'm glad it was Mr Roberson. I'm not ready yet to try a man's 
tests.
But now he was the one in the blind, wasn't he? And the animal was coming, 
wasn't it? And it was no harmless eater of grasses this time, was it? This was a 
killing engine big enough and mean enough to swallow a tiger whole, and it meant 
to kill him, and that was only for starters, and he was the only one that could 
stop it.
The thought of turning the Polaroid over to his father crossed his mind, but 
only momentarily. Something deep inside himself knew the truth: to pass the 
camera would be tantamount to murdering his father and committing suicide 
himself. His father believed something, but that wasn't specific enough. The 
camera wouldn't work for his father even if his father managed to break out of 
his current stunned condition and press the shutter.
It would only work for him.
So he waited on the test, peering through the viewfinder of the camera as if it 
were the gunsight of a rifle, peering at the photograph as it continued to 
spread and force that shiny, liquescent bubble wider and wider and higher and 
higher.
Then the actual birthing of the Sun dog into this world began to happen. The 
camera seemed to gain weight and turn to lead as the thing roared again with a 
sound like a whiplash loaded with steel shot. The camera trembled in his hands 
and he could feel his wet, slippery fingers simply wanting to uncurl and let go. 
He held on, his lips pulling back from his teeth in a sick and desperate grin. 
Sweat ran into one eye, momentarily doubling his vision. He threw his head back, 
snapping his hair off his forehead and out of his eyebrows, and then nestled his 
staring eye back into the view-finder as a great ripping sound, like heavy cloth 
being torn in half by strong, slow hands, filled the Emporium Galorium.
The shiny surface of the bubble tore open. Red smoke, like the blast from a tea 
kettle set in front of red neon, billowed out.
The thing roared again, an angry, homicidal sound. A gigantic jaw, filled with 
croggled teeth, burst up through the shrivelling membrane of the now-collapsing 
bubble like the jaw of a breaching pilot whale. It ripped and chewed and gnawed 
at the membrane, which gave way with gummy splattering sounds.
The clocks struck wildly, crazily.
His father grabbed him again, so hard that Kevin's teeth rapped against the 
plastic body of the camera and it came within a hair of spilling out of his 
hands and shattering on the floor.
'Shoot it!' his father screamed over the thing's bellowing din. 'Shoot it, 
Kevin, if you can shoot it, SHOOT IT Now, Christ Jesus, it's going to -'
Kevin yanked away from his father's hand. 'Not yet,' he said. 'Not just y-'
The thing screamed at the sound of Kevin's voice. The Sun dog lunged up from 
wherever it was, driving the picture still wider. It gave and stretched with a 
groaning sound. This was replaced by the thick cough of ripping fabric again.
And suddenly the Sun dog was up, its head rising black and rough and tangled 
through the hole in reality like some weird periscope which was all tangled 
metal and glittering, glaring lenses ... except it wasn't metal but that 
twisted, spiky fur Kevin was looking at, and those were not lenses but the 
thing's insane, raging eyes.
It caught at the neck, the spines of its pelt shredding the edges of the hole it 
had made into a strange sunburst pattern. It roared again, and sickly yellow-red 
fire licked out of its mouth.
John Delevan took a step backward and struck a table overloaded with thick 
copies of Weird Tales and Fantastic Universe. The table tilted and Mr Delevan 
flailed helplessly against it, his heels first rocking back and then shooting 
out from under him. Man and table went over with a crash. The Sun dog roared 
again, then dipped its head with an unsuspected delicacy and tore at the 
membrane which held it. The membrane ripped. The thing barked out a thin stream 
of fire which ignited the membrane and turned it to ash. The beast lunged upward 
again and Kevin saw that the thing on the tie around its neck was no longer a 
tie-clasp but the spoon-shaped tool which Pop Merrill had used to clean his 
pipe.
In that moment a clean calmness fell over the boy. His father bellowed in 
surprise and fear as he tried to untangle himself from the table he had fallen 
over, but Kevin took no notice. The cry seemed to come from a great distance 
away.
It's all right, Dad, he thought, fixing the struggling, emerging beast more 
firmly in the viewfinder. It's all right, don't you see? It can be all right, 
anyway ... because the charm it wears has changed.
He thought that perhaps the Sun dog had its master, too, and its master had 
realized that Kevin was no longer sure prey.
And perhaps there was a dog-catcher in that strange nowhere town of 
Polaroidsville; there must be, else why had the fat woman been in his dream? It 
was the fat woman who had told him what he must do, either on her own or because 
that dog-catcher had put her there for him to see and notice: the 
two-dimensional fat woman with her two-dimensional shopping-cart full of 
two-dimensional cameras. Be careful, boy. Pop's dog broke his leash and he's a 
mean 'un ... It's hard to take his pitcher, but you can't do it at all, 'less 
you have a cam'ra.
And now he had his camera, didn't he? It was not sure, not by any means, but at 
least he had it.
The dog paused, head turning almost aimlessly ... until its muddy, burning gaze 
settled on Kevin Delevan. Its black lips peeled back from its corkscrewed boar's 
fangs, its muzzle opened to reveal the smoking channel of its throat, and it 
gave a high, drilling howl of fury. The ancient hanging globes that lit Pop's 
place at night shattered one after another in rows, sending down spinning shards 
of frosted fly-beshitted glass. It lunged, its broad, panting chest bursting 
through the membrane between the worlds.
Kevin's finger settled on the Polaroid's trigger.
It lunged again, and now its front legs popped free, and those cruel spurs of 
bone, so like gigantic thorns, scraped and scrabbled for purchase on the desk. 
They dug long vertical scars in the heavy rock-maple. Kevin could hear the dusky 
thud-and-scratch of its pistoning rear legs digging for a grip down there 
(wherever down there was), and he knew that this was the final short stretch of 
seconds in which it would be trapped and at his mercy; the next convulsive lunge 
would send it flying over the desk, and once free of the hole through which it 
was squirming, it would move as fast as liquid death, charging across the space 
between them, setting his pants ablaze with its fiery breath split-seconds 
before it tore into his warm innards.
Very clearly, Kevin instructed: 'Say cheese, you motherfucker.'
And triggered the Polaroid.
CHAPTER 24
The flash was so bright that Kevin could not conceive of it later; could, in 
fact, barely remember it at all. The camera he was holding did not grow hot and 
melt; instead there were three or four quick, decisive breaking sounds from 
inside it as its ground-glass lenses burst and its springs either snapped or 
simply disintegrated.
In the white afterglare he saw the Sun dog frozen, a perfect black-and-white 
Polaroid photograph, its head thrown back, every twisting fold and crevasse in 
its wildly bushed-out fur caught like the complicated topography of a dry 
river-valley. Its teeth shone, no longer subtly shaded yellow but as white and 
nasty as old bones in that sterile emptiness where water had quit running 
millennia ago. Its single swollen eye, robbed of the dark and bloody porthole of 
iris by the merciless flash, was as white as an eye in the head of a Greek bust. 
Smoking snot drizzled from its flared nostrils and ran like hot lava in the 
narrow gutters between its rolled-back muzzle and its gums.
It was like a negative of all the Polaroids Kevin had ever seen: black-and-white 
instead of color, and in three dimensions instead of two. And it was like 
watching a living creature turned instantly to stone by a careless look at the 
head of Medusa.
'You're done, you son of a bitch!' Kevin screamed in a cracked, hysterical 
voice, and as if in agreement, the thing's frozen forelegs lost their hold on 
the desk and it began to disappear, first slowly and then rapidly, into the hole 
from which it had come. It went with a rocky coughing sound, like a landslide.
What would I see if I ran over now and looked into that hole? he wondered 
incoherently. Would I see that house, that fence, the old man with his 
shoppingcart, staring with wide-eyed wonder at the face of a giant, not a boy 
but a Boy, staring back at him from a torn and charred hole in the hazy sky? 
Would it suck me in? What?
Instead, he dropped the Polaroid and raised his hands to his face.
Only John Delevan, lying on the floor, saw the final act: the twisted, dead 
membrane shrivelling in on itself, pulling into a complicated but unimportant 
node around the hole, crumpling there, and then falling (or being inhaled) into 
itself.
There was a whooping sound of air, which rose from a broad gasp to a thin 
tea-kettle whistle.
Then it turned inside-out and was gone. Simply gone, as if it had never been.
Getting slowly and shakily to his feet, Mr Delevan saw that the final inrush (or 
outrush, he supposed, depending on which side of that hole you were on) of air 
had pulled the desk-blotter and the other Polaroids the old man had taken in 
with it.
His son was standing in the middle of the floor with his hands over his face, 
weeping.
'Kevin,' he said quietly, and put his arms around his boy.
'I had to take its picture,' Kevin said through his tears and through his hands. 
'It was the only way to get rid of it. I had to take the rotten whoredog's 
picture. That's what I mean to say.'
'Yes.' He hugged him tighter. 'Yes, and you did it.'
Kevin looked at his father with naked, streaming eyes. 'That's how I had to 
shoot it, Dad. Do you see?'
'Yes,' his father said. 'Yes, I see that.' He kissed Kevin's hot cheek again. 
'Let's go home, son.'
He tightened his grip around Kevin's shoulders, wanting to lead him toward the 
door and away from the smoking, bloody body of the old man (Kevin hadn't really 
noticed yet, Mr Delevan thought, but if they spent much longer here, he would), 
and for a moment Kevin resisted him.
'What are people going to say?' Kevin asked, and his tone was so prim and 
spinsterish that Mr Delevan laughed in spite of his own sizzling nerves.
'Let them say whatever they want,' he told Kevin. 'They'll never get within 
shouting distance of the truth, and I don't think anyone will try very hard, 
anyway.' He paused. 'No one really liked him much, you know.'
'I never want to be in shouting distance of the truth,' Kevin whispered. 'Let's 
go home.'
'Yes. I love you, Kevin.'
'I love you, too,' Kevin said hoarsely, and they went out of the smoke and the 
stink of old things best left forgotten and into the bright light of day.
EPILOGUE
It was Kevin Delevan's sixteenth birthday, and he got exactly what he wanted: a 
WordStar 70 PC and word processer. It was a seventeen-hundred-dollar toy, and 
his parents could never have afforded it in the old days, but in January, about 
three months after that final confrontation in the Emporium Galorium, Aunt Hilda 
had died quietly in her sleep. She had indeed Done Something for Kevin and Meg; 
had, in fact, Done Quite a Lot for the Whole Family. When the will cleared 
probate in early june, the Delevans found themselves richer by nearly seventy 
thousand dollars ... and that was after taxes, not before.
'Jeez, it's neat! Thank you!' Kevin cried, and kissed his mother, his father, 
and even his sister, Meg (who giggled but, being a year older, made no attempt 
to rub it off; Kevin couldn't decide if this change was a step in the right 
direction or not). He spent much of the afternoon in his room, fussing over it 
and trying out the test program.
Around four o'clock, he came downstairs and into his father's den. 'Where's Mom 
and Meg?' he asked.
'They've gone out to the craft fair at ... Kevin? Kevin, what's wrong?'
'You better come upstairs,' Kevin said hollowly.
At the door to his room, he turned his pale face toward his father's equally 
pale face. There was something more to pay, Mr Delevan had been thinking as he 
followed his son up the stairs. Of course there was. And hadn't he also learned 
that from Reginald Marion 'Pop' Merrill? The debt you incurred was what hurt 
you.
It was the interest that broke your back.
'Can we get another one of these?' Kevin asked, pointing to the laptop computer 
which stood open on his desk, glowing a mystic yellow oblong of light onto the 
blotter.
'I don't know,' Mr Delevan said, approaching the desk. Kevin stood behind him, a 
pallid watcher. 'I guess, if we had to
He stopped, looking down at the screen.
'I booted up the word-processing program and typed "The quick brown fox jumped 
over the lazy sleeping dog,"' Kevin said. 'Only that was what came out of the 
printer.'
Mr Delevan stood, silently reading the hard copy. His hands and forehead felt 
very cold. The words there read:
The dog is loose again.
It is not sleeping.
It is not lazy.
It's coming for you, Kevin.
The original debt was what hurt you, he thought again; it was the interest that 
broke your back. The last two lines read:
It's very hungry.
And it's VERY angry.