One Door Away from Heaven

With the hose nozzle set securely in the fuel port and with at least five minutes required to fill the big tank, Cass’s hands were free, and Polly had complete confidence in her sister’s ability to deal with the likes of Earl Bockmnn, even if he might have this day received word from the Guinness Book of World Records that he had displaced the late Jeffrey Dahmer in the category of Most Severed Heads Kept in a Single Refrigerator. Hobbling, she pursued Old Yeller around the front of the Fleetwood, to the starboard flank, where the dog bounded through the open door and up the steps, into the motor home.

By the time Polly got inside, the sandal lay discarded on the floor of the lounge, directly under the only interior light that had been left burning, while in the kitchen area just beyond the lounge, the dog sprang onto the dining-nook booth, craned her neck across the table, and snatched the packet of playing cards in her teeth. As Polly picked up the sandal, Old Yeller returned to the lounge, shook the packet until the lid flap came untucked, and scattered the cards across the carpeted floor.

As one who had been raised in a rural community where cows and hogs and chickens provided examples of deportment and dignity seldom matched by human beings, as one who’d worked in a multimillion-dollar stage show where the two elephants, four chimps, six dogs, and even the python had been more amenable than sixty-six of the seventy-four dancers in the cast, Polly considered herself an animal lover, and she also qualified as an astute enough observer of animal conduct to know that Old Yeller was acting out of character and that something uncanny was happening. She didn’t scold, therefore, and didn’t begin at once to clean up the mess, as ordinarily she would have done, but gave the dog room and dropped to her knees to watch.

Half the cards had spilled faceup on the floor, and Old Yeller began to paw through these, making selections frantically and yet with clear deliberation, until she sorted out two clubs, two hearts, and one spade. The suits of the chosen cards were of no consequence, but the numbers on them were meaningful, because using her nose and her paws, the dog lined them up side by side in correct numerical order—3 of spades, 4 of clubs, 5 of hearts, 6 of clubs, 7 of hearts—and then grinned at Polly expectantly.

Gymnastic dogs balancing on rolling beachballs and walking on parallel bars, pyrophilic dogs leaping through flaming hoops, tiny dogs riding the backs of big dogs as those mounts raced and leaped through obstacle courses, mortified dogs in pink tutus dancing on their hind feet: In Vegas, Polly had seen trained dogs do impressive stunts, but she had never until now seen any mutt exhibit advanced numerical aptitude, so even as she watched Old Yeller paw the 6 of clubs into place and nose the 7 of hearts in line immediately after it, she muttered the name of the loathsome movie star not once but twice, made eye contact with this furry mathematician, shivered with a delicious sense of wonder, and said what Lassie must have been sick to death of hearing during her long years with Timmy on the farm: “You’re trying to tell me something, aren’t you, girl?”

INTENDING NO OFFENSE to Romulus, Tarzan, and HAL 9000, Cass judged Earl Bockman’s social skills to be worse than those of a child nursed in infancy by wolves, subsequently adopted by a tribe of apes, and later educated entirely by machines.

He was stiff. Self-conscious. Fidgety. His facial expressions were seldom appropriate to what he happened to be saying, and every time he appeared to recognize an instance of this inappropriateness, he resorted to the same cartoon-cat-caught-at-the-canary-cage smile that he seemed to think was folksy and reassuring.

Worse yet, Earl was a droner. Each pause in conversation longer than two seconds made him nervous. He rushed to fill every brief silence with the first thing that came into his head, which reliably proved to be something tedious.

Cass decided that Maureen, Earl’s wife and reputed peach, must be either a saint or as dumb as a carrot. No woman would stay with this man unless she was a religiosity who hoped to purify her soul through suffering or had no detectable cerebral function.

Leaning against the motor home, waiting for the tank to fill, Cass felt as if she were a condemned prisoner with her back pressed to the executioner’s wall. Earl was a one-man firing squad, the bullets were his words, and boredom the method of execution.

And what was the story with the watch? No better skilled at surreptitious action than at conversation, Earl aimed the gadget at various points in the night around them. He even dropped to one knee to tie a shoelace that appeared to be tied perfectly well before he decided to tend to it, obviously as an excuse to direct the lace of the wristwatch toward the space under the Fleetwood.

Maybe he suffered from obsessive-compulsive disorder. Maybe he was compelled to aim his wristwatch ceaselessly at people and things, just as some obsessives washed their hands four hundred times a day, and just as others counted the socks in their dresser drawers or the plates in the kitchen cupboards once every hour.

At first he’d been a little bit of a sad case, but then quickly he’d become amusing.

He wasn’t amusing anymore.

Increasingly, he gave Cass the creeps.

During the three years she’d been married to Don Flackberg—film producer, younger brother of Julian—Cass moved in the highest levels of Hollywood society, where she had eventually calculated that of the entire pool of successful actors, directors, studio executives, and producers, 6.5 percent were sane and good, 4.5 percent were sane and evil, and 89 percent were insane and evil. In accumulating the experience to make this assessment, she had learned to recognize a series of eye expressions, facial ticks, and body-language quirks, as well as other physical and behavioral tells that unfailingly alerted her to the maddest of the mad and to the most monstrously wicked of the wicked before she fell prey to them. Following three minutes of observation, she believed that Earl Bockman, a simple pump jockey and grocer, was every bit as insane and evil as any of the richest and most highly honored members of the film community whom she had ever known.

IN THE DARKNESS behind the crossroads store, between the moon-drizzled faux Corvette and the Explorer stuffed with corpses, Curtis keeps a watch on the back door of the building and on both the north and the south corners, around either of which epic trouble might come at any moment.

Most of his attention, however, is reserved for the boy-dog bond that he’s exploiting now more intensely than ever before. He is here with a dry breeze whispering through the prairie grass at his back, but he is also—and more completely—with his sister-become inside the motor home, dazzling Polly with canine arithmetic and then with an instrument more complicated than playing cards.

When he’s sure that Polly understands his message, that she is alarmed, and that she’ll act to save herself and her sister, Curtis retreats from the dog and from the motor home. Now he lives only here in the warm breath of the prairie, in the cold light of the moon.

These hunters always travel in pairs or squads, never alone. The fact that both of the mom-and-pop cadavers in the SUV were stripped of clothes indicates that in addition to the man out at the pumps, a killer masquerading as the chestnut-haired woman waits in the store.

The Corvette-what-ain’t-a-Corvette is roomier than the sports car that it pretends to be. The vehicle can comfortably accommodate four passengers.

Ever hopeful, as he was raised to be, Curtis will operate under the assumption that only two assassins are present at the crossroads. Anyway, if there are four, he has no chance whatsoever of surviving a confrontation. And in that event, he wouldn’t know how to fight a quartet of these vicious predators; consequently, faced with four, his only sensible strategy would be to run into the prairie in search of a high cliff or a drowning river, or in pursuit of some other death that might be easier than the one that the killers plan to measure out to him.

Although usually he would avoid a clash with even just two of these hunters—or with one!—he doesn’t have the luxury of flight in this case, because he has an obligation to Cass and Polly. He’s told them to run, but they might not be permitted to leave if they are thought to harbor him. In that case, he can only distract the enemy from the twins by revealing himself.

Quickly now, into the thick of it, between the meat-wagon Ford Explorer and the extraterrestrial road-burner, to the back door of the building. Try the knob carefully, quietly.

Locked.

Curtis challenges the door, willpower against matter, on the micro scale where will should win—as it won at the back door of the Hammond farmhouse in Colorado, as it won at the door of the SUV on the auto carrier in Utah, and elsewhere.

He has no sixth sense, no superpowers that would make him prime material for a series of comic books portraying him in colorful cape and tights. His main difference lies in his understanding of quantum mechanics, not as it is half understood on this world, but as it is more fully understood on others.

At the fundamental structural level of the universe, matter is energy; everything is energy expressed in myriad forms. Consciousness is the marshaling force that builds all things from this infinite sea of energy, primarily the all-encompassing consciousness of the Creator, the playful Presence in the dog’s dreams. But even a mere mortal, having been granted intelligence and consciousness, possesses the power to affect the form and function of matter by a sheer act of will. This isn’t the great world-making, galaxy-creating power of the playful Presence, but a humble power with which we can achieve only limited effects.

Even on this world, at its current early stage of development, scientists specializing in quantum mechanics are aware that at the subatomic level, the universe seems to be more like thought than like matter. They also know that their expectations, their thoughts, can affect the outcome of some experiments with elemental particles like electrons and photons. They understand that the universe is not as mechanistic as they once believed, and they have begun to suspect that it exists as an act of will, that this willpower—the awesomely creative consciousness of the playful Presence—is the organizing force within the physical universe, and that this power is reflected in the freedom that each mortal possesses to shape his or her destiny through the exercise of free will.

Curtis is already hip to all this.

Nevertheless, he remains afraid.

Fear is an unavoidable element of the mortal condition. Creation in all its ravishing beauty, with its infinite baroque embellishments and subtle charms, with all the wonders that it offers from both the Maker and the made, with all its velvet mystery and with all the joy we receive from those we love here, so enchants us that we lack the imagination, less than the faith, to envision an even more dazzling world beyond, and therefore even if we believe, we cling tenaciously to this existence, to sweet familiarity, fearful that all conceivable paradises will prove wanting by comparison.

Locked. The back door of the crossroads store is locked.

Then it isn’t.

Beyond lies a small storeroom, revealed not by the single bare bulb dangling on a cord at ceiling center, but only by the light that sifts in from another room, around an inner door standing ajar, and dusts this chamber as if with a fine-ground fluorescent powder.

Curtis steps inside. He quietly closes the outer door behind him to prevent the breeze from shutting it with a bang.

Some silences soothe, but this one unnerves. This is the cold steel silence of the guillotine blade poised at the top of its track, with the target neck already inserted through the lunette below, the harvesting basket waiting for the head.

Ever hopeful even in his fear, Curtis eases toward the door that stands two inches ajar.

IN THE BEDROOM of the motor home, Polly grabbed the pump-action, pistol-grip, 12 -gauge shotgun from the mounting brackets at the back of the closet, where it was stored behind the hanging clothes.

The dog watched.

Polly yanked open a dresser drawer and seized a box of shells. She inserted one in the breech, three more in the tube-type magazine.

The dog lost interest in weaponry and began to sniff curiously at the shoes on the closet floor.

In the interest of a snug fit that was flattering to the figure, her white toreador pants had no pockets. Polly tucked three spare shells into her halter top, between her breasts, grateful that nature had given her sufficient cl**vage to serve as an ammunition depot.

The dog followed from the bedroom, through the bath, into the kitchen, but then was distracted by a whiff of some tasty treat in the food cupboard.

As Old Yeller sniffed inquisitively at the narrow gap between the cabinet doors, Polly stepped into the lounge and stared down at the laptop computer on the floor. On her return from the bedroom, she’d been half convinced that she’d imagined the business with the dog and the computer; but the proof remained before her, glowing on the screen.

The laptop had been stored on a shelf in the entertainment center, under the TV. After the trick with the cards, the dog had stood on her hind feet, pawing at the shelf, until Polly moved the laptop to the floor, opened it, and switched it on.

Bewildered but game, her sense of wonder surprisingly intact after three years in the wonder-crushing upper echelons of the film industry, Polly had quickly set up the computer, while the dog had raced into the bathroom. Following a clatter, the pooch had returned with Cass’s toothbrush. Using the brush as a stylus, Old Yeller then tapped out a message on the keyboard.

RUM, the dog had typed, whereupon Polly had decided that any dog able to differentiate one playing card from another and possessed of advanced numerical skills ought to be allowed to indulge in an adult beverage if it wanted one, assuming that it could hold its booze and exhibited no tendency to alcoholism. Polly would have prepared Old Yeller a pina colada right then, or a mai tai, thought she suspected that she had lost her mind and that paramedics with psychiatric training, medevacked her to the prairie from the nearest metropolitan center, were even now approaching the Fleetwood with a straitjacket and a drawn dose of Thorazine in a syringe of a size usually employed to treat horses. Unfortunately, she had no rum, only beer and a small collection of fine wines, a fact that she conveyed to the dog along with an apology for being an inadequate hostess.

RUM had proved to be not the wanted word, but an error resulting from the understandable clumsiness of a dog gripping a toothbrush in its mouth as a stylus with which to type on a keyboard. With a whine of frustration but with admirable determination, Old Yeller had tried again: RUN!

So here and now, but a minute after the dog had finished typing, Polly stood staring down at the laptop, on which continued to burn the entire six-line message that had motivated her to race to the bedroom and load the shotguns.

RUM

RUN!

MAN EVIL

ALIEN

EVIL ALIEN

RUM!

On the face of it, the message was absurd, one level of order above meaningless gibberish, and if it had shown up on the screen as if resolving out of the ether or even if it had been typed by a preliterate child, Polly wouldn’t have acted upon it so quickly and might not have gone directly to the shotgun, but she felt justified in taking immediate and drastic action because the message had been typed by a dog with a toothbrush in its mouth! She’d never gone to college, and no doubt she’d lost a fearsome number of brain cells during the three years she spent in Hollywood, and she had no difficulty acknowledging that she was woefully ignorant about a long list of subjects, but she knew a miracle when she saw one, and if a dog typing messages with a toothbrush wasn’t a miracle, then neither was Moses parting the Red Sea nor Lazarus rising from the dead.