Knitting made her sleepy. Today even Bartok would have made her sleepy, and it wasn't Bartok on the little phonograph, it was Bach. Her hands grew slower and slower, and at the time her son was making the acquaintance of Room 217's longterm resident, Wendy was asleep with her knitting on her lap. The yarn and needles rose in the slow time of her breathing. Her sleep was deep and she did not dream.

* * *

Jack Torrance had fallen asleep too, but his sleep was light and uneasy, populated by dreams that seemed too vivid to be mere dreams-they were certainly more vivid than any dreams he had ever had before.

His eyes had begun to get heavy as he leafed through packets of milk bills, a hundred to a packet, seemingly tens of thousands all together. Yet he gave each one a cursory glance, afraid that by not being thorough he might miss exactly the piece of Overlookiana he needed to make the mystic connection that he was sure must be here somewhere. He felt like a man with a power cord in one hand, groping around a dark and unfamiliar room for a socket. If he could find it he would be rewarded with a view of wonders.

He had come to grips with Al Shockley's phone call and his request; his strange experience in the playground had helped him to do that. That had been too damned close to some kind of breakdown, and he was convinced that it was his mind in revolt against Al's high-goddam-handed request that he chuck his book project. It had maybe been a signal that his own sense of self-respect could only be pushed so far before disintegrating entirely. He would write the book. If it meant the end of his association with Al Shockley, that would have to be. He would write the hotel's biography, write it straight from the shoulder, and the introduction would be his hallucination that the topiary animals had moved. The title would be uninspired but workable: Strange Resort, The Story of the Overlook Hotel. Straight from the shoulder, yes, but it would not be written vindictively, in any effort to get back at Al or Stuart Ullman or George Hatfield or his father (miserable, bullying drunk that he had been) or anyone else, for that matter. He would write it because the Overlook had enchanted him-could any other explanation be so simple or so true? He would write it for the reason he felt that all great literature, fiction and nonfiction, was written: truth comes out, in the end it always comes out. He would write it because he felt he had to.

Five hundred gals whole milk. One hundred gals skim milk. Pd. Billed to acc't. Three hundred pts orange juice. Pd.

He slipped down further in his chair, still holding a clutch of the receipts, but his eyes no longer looking at what was printed there. They had come unfocused. His lids were slow and heavy. His mind had slipped from the Overlook to his father, who had been a male nurse at the Berlin Community Hospital. Big man. A fat man who had towered to six feet two inches, he had been taller than Jack even when Jack got his full growth of six feet even-not that the old man had still been around then. "Runt of the litter," he would say, and then cuff Jack lovingly and laugh. There had been two other brothers, both taller than their father, and Becky, who at five-ten had only been two inches shorter than Jack and taller than he for most of their childhood.

His relationship with his father had been like the unfurling of some flower of beautiful potential, which, when wholly opened, turned out to be blighted inside. Until he had been seven he had loved the tall, big-bellied man uncritically and strongly in spite of the spankings, the black-and-blues, the occasional black eye.

He could remember velvet summer nights, the house quiet, oldest brother Brett out with his girl, middle brother Mike studying something, Becky and their mother in the living room, watching something on the balky old TV; and he would sit in the hall dressed in a pajama singlet and nothing else, ostensibly playing with his trucks, actually waiting for the moment when the silence would be broken by the door swinging open with a large bang, the bellow of his father's welcome when he saw Jacky was waiting, his own happy squeal in answer as this big man came down the hall, his pink scalp glowing beneath his crewcut in the glow of the hall light. In that light he always looked like some soft and flapping oversized ghost in his hospital whites, the shirt always untucked (and sometimes bloody), the pants cuffs drooping down over the black shoes.

His father would sweep him into his arms and Jacky would be propelled deliriously upward, so fast it seemed he could feel air pressure settling against his skull like a cap made out of lead, up and up, both of them crying "Elevator! Elevator!"; and there had been nights when his father in his drunkenness had not stopped the upward lift of his slabmuscled arms soon enough and Jacky had gone right over his father's flattopped head like a human projectile to crash-land on the hall floor behind his dad. But on other nights his father would only sweep him into a giggling ecstasy, through the zone of air where beer hung around his father's face like a mist of raindrops, to be twisted and turned and shaken like a laughing rag, and finally to be set down on his feet, hiccupping with reaction.

The receipts slipped from his relaxing hand and seesawed down through the air to land lazily on the floor; his eyelids, which had settled shut with his father's image tattooed on their backs like stereopticon images, opened a little bit and then slipped back down again. He twitched a little. Consciousness, like the receipts, like autumn aspen leaves, seesawed lazily downward.

That had been the first phase of his relationship with his father, and as it was drawing to its end he had become aware that Becky and his brothers, all of them older, hated the father and that their mother, a nondescript woman who rarely spoke above a mutter, only suffered him because her Catholic upbringing said that she must. In those days it had not seemed strange to Jack that the father won all his arguments with his children by use of his fists, and it had not seemed strange that his own love should go hand-in-hand with his fear: fear of the elevator game which might end in a splintering crash on any given night; fear that his father's bearish good humor on his day off might suddenly change to boarish bellowing and the smack of his "good right hand"; and sometimes, he remembered, he had even been afraid that his father's shadow might fall over him while he was at play. It was near the end of this phase that he began to notice that Brett never brought his dates home, or Mike and Becky their chums.

Love began to curdle at nine, when his father put his mother into the hospital with his cane. He had begun to carry the cane a year earlier, when a car accident had left him lame. After that he was never without it, long and black and thick and gold-headed. Now, dozing, Jack's body twitched in a remembered cringe at the sound it made in the air, a murderous swish, and its heavy crack against the wall... or against flesh. He had beaten their mother for no good reason at all, suddenly and without warning. They had been at the supper table. The cane had been standing by his chair. It was a Sunday night, the end of a three-day weekend for Daddy, a weekend which he had boozed away in his usual inimitable style. Roast chicken. Peas. Mashed potatoes. Daddy at the head of the table, his plate heaped high, snoozing or nearly snoozing. His mother passing plates. And suddenly Daddy had been wide awake, his eyes set deeply into their fat eyesockets, glittering with a kind of stupid, evil petulance. They flickered from one member of the family to the next, and the vein in the center of his forehead was standing out prominently, always a bad sign. One of his large freckled hands had dropped to the gold knob of his cane, caressing it. He said something about coffee-to this day Jack was sure it had been "coffee" that his father said. Momma had opened her mouth to answer and then the cane was whickering through the air, smashing against her face. Blood spurted from her nose. Becky screamed. Momma's spectacles dropped into her gravy. The cane had been drawn back, had come down again, this time on top of her head, splitting the scalp. Momma had dropped to the floor. He had been out of his chair and around to where she lay dazed on the carpet, brandishing the cane, moving with a fat man's grotesque speed and agility, little eyes flashing, jowls quivering as he spoke to her just as he had always spoken to his children during such outbursts. "Now. Now by Christ. I guess you'll take your medicine now. Goddam puppy. Whelp. Come on and take your medicine." The cane had gone up and down on her seven more times before Brett and Mike got hold of him, dragged him away, wrestled the cane out of his hand. Jack

(little Jacky now he was little Jacky now dozing and mumbling on a cobwebby camp chair while the furnace roared into hollow life behind him)

knew exactly how many blows it had been because each soft whump against his mother's body had been engraved on his memory like the irrational swipe of a chisel on stone. Seven whumps. No more, no less. He and Becky crying, unbelieving, looking at their mother's spectacles lying in her mashed potatoes, one cracked lens smeared with gravy. Brett shouting at Daddy from the back hall, telling him he'd kill him if he moved. And Daddy saying over and over: "Damn little puppy. Damn little whelp. Give me my cane, you damn little pup. Give it to me." Brett brandishing it hysterically, saying yes, yes, I'll give it to you, just you move a little bit and I'll give you all you want and two extra. I'll give you plenty. Momma getting slowly to her feet, dazed, her face already puffed and swelling like an old tire with too much air in it, bleeding in four or five different places, and she had said a terrible thing, perhaps the only thing Momma had ever said which Jacky could recall word for word: "Who's got the newspaper? Your daddy wants the funnies. Is it raining yet?" And then she sank to her knees again, her hair hanging in her puffed and bleeding face. Mike calling the doctor, babbling into the phone. Could he come right away? It was their mother. No, he couldn't say what the trouble was, not over the phone, not over a party line he couldn't. Just come. The doctor came and took Momma away to the hospital where Daddy had worked all of his adult life. Daddy, sobered up some (or perhaps only with the stupid cunning of any hardpressed animal), told the doctor she had fallen downstairs. There was blood on the tablecloth because he had tried to wipe her dear face with it. Had her glasses flown all the way through the living room and into the dining room to land in her mashed potatoes and gravy? the doctor asked with a kind of horrid, grinning sarcasm. Is that what happened, Mark? I have heard of folks who can get a radio station on their gold fillings and I have seen a man get shot between the eyes and live to tell about it, but that is a new one on me. Daddy had merely shook his head and said he didn't know; they must have fallen off her face when he brought her through the dining room. The four children had been stunned to silence by the calm stupendousness of the lie. Four days later Brett quit his job in the mill and joined the Army. Jack had always felt it was not just the sudden and irrational beating his father had administered at the dinner table but the fact that, in the hospital, their mother had corroborated their father's story while holding the hand of the parish priest. Revolted, Brett had left them to whatever might come. He had been killed in Dong Ho province in 1965, the year when Jack Torrance, undergraduate, had joined the active college agitation to end the war. He had waved his brother's bloody shirt at rallies that were increasingly well attended, but it was not Brett's face that hung before his eyes when he spoke-it was the face of his mother, a dazed, uncomprehending face, his mother saying: "Who's got the newspaper?"

Mike escaped three years later when Jack was twelve-he went to UNH on a hefty Merit Scholarship. A year after that their father died of a sudden, massive stroke which occurred while he was prepping a patient for surgery. He had collapsed in his flapping and untucked hospital whites, dead possibly even before he hit the industrial black-and-red hospital tiles, and three days later the man who had dominated Jacky's life, the irrational white ghost-god, was under ground.

The stone read Mark Anthony Torrance, Loving Father. To that Jack would have added one line: He Knew How to Play Elevator.

There had been a great lot of insurance money. There are people who collect insurance as compulsively as others collect coins and stamps, and Mark Torrance had been that type. The insurance money came in at the same time the monthly policy payments and liquor bills stopped. For five years they had been rich. Nearly rich...

In his shallow, uneasy sleep his face rose before him as if in a glass, his face but not his face, the wide eyes and innocent bowed mouth of a boy sitting in the ball with his trucks, waiting for his daddy, waiting for the white ghostgod, waiting for the elevator to rise up with dizzying, exhilarating speed through the salt-and-sawdust mist of exhaled taverns, waiting perhaps for it to go crashing down, spilling old clocksprings out of his ears while his daddy roared with laughter, and it

(transformed into Danny's face, so much like his own had been, his eyes had been light blue while Danny's were cloudy gray, but the lips still made a bow and the complexion was fair; Danny in his study, wearing training pants, all his papers soggy and the fine misty smell of beer rising... a dreadful batter all in ferment, rising on the wings of yeast, the breath of taverns... snap of bone... his own voice, mewling drunkenly Danny, you okay doc?... Oh God oh God your poor sweet arm... and that face transformed into)

(momma's dazed face rising up from below the table, punched and bleeding, and momma was saying)

("-from your father. I repeat, an enormously important announcement from your father. Please stay tuned or tune immediately to the Happy Jack frequency. Repeat, tune immediately to the Happy Hour frequency. I repeat-")

A slow dissolve. Disembodied voices echoing up to him as if along an endless, cloudy hallway.

(Things keep getting in the way, dear Tommy...)

(Medoc, are you here? I've been sleepwalking again, my dear. It's the inhuman monsters that I fear...)

("Excuse me, Mr. Ullman, but isn't this the...")

... office, with its file cabinets, Ullman's big desk, a blank reservations book for next year already in place-never misses a trick, that Ullman-all the keys hanging neatly on their hooks

(except for one, which one, which key, passkey-passkey, passkey, who's got the passkey? if we went upstairs perhaps we'd see)

and the big two-way radio on its shelf.

He snapped it on. CB transmissions coming in short, crackly bursts. He switched the band and dialed across bursts of music, news, a preacher haranguing a softly moaning congregation, a weather report. And another voice which he dialed back to. It was his father's voice.

"-kill him. You have to kill him, Jacky, and her, too. Because a real artist must suffer. Because each man kills the thing he loves. Because they'll always be conspiring against you, trying to hold you back and drag you down. Right this minute that boy of yours is in where he shouldn't be. Trespassing. That's what he's doing. He's a goddam little pup. Cane him for it, Jacky, cane him within an inch of his life. Have a drink Jacky my boy, and we'll play the elevator game. Then I'll go with you while you give him his medicine. I know you can do it, of course you can. You must kill him. You have to kill him, Jacky, and her, too. Because a real artist must suffer. Because each man-"

His father's voice, going up higher and higher, becoming something maddening, not human at all, something squealing and petulant and maddening, the voice of the Ghost-God, the Pig-God, coming dead at him out of the radio and

"No!" he screamed back. "You're dead, you're in your grave, you're not in me at all!" Because he had cut all the father out of him and it was not right that he should come back creeping through this hotel two thousand miles from the New England town where his father had lived and died.

He raised the radio up and brought it down, and it smashed on the floor spilling old clocksprings and tubes like the result of some crazy elevator game gone awry, making his father's voice gone, leaving only his voice, Jack's voice, Jacky's voice, chanting in the cold reality of the office:

"-dead, you're dead, you're dead!"

And the startled sound of Wendy's feet hitting the floor over his head, and Wendy's startled, frightened voice: "Jack? Jack!"

He stood, blinking down at the shattered radio. Now there was only the snowmobile in the equipment shed to link them to the outside world.

He put his hands over his eyes and clutched at his temples. He was getting a headache.