The Drawing of the Three (The Dark Tower 2)

"Okay," George Biondi was saying, "here's an easy one, Henry. Henry? You there, Henry? Earth to Henry, Earth people need you. Come in, Henry. I say again: come in, H--"

"I'm here, I'm here," Henry said. His voice was the slurry, muddy voice of a man who is still asleep telling his wife he's awake so she'll leave him alone for another five minutes.

"Okay. The category is Arts and Entertainment. The question is . . . Henry? Don't you fuckin nod off on me, asshole!"

"I'm not!" Henry cried back querulously.

"Okay. The question is, 'What enormously popular novel by William Peter Blatty, set in the posh Washington D.C. suburb of Georgetown, concerned the demonic possession of a young girl?' "

"Johnny Cash," Henry replied.

"Jesus Christ!" Tricks Postino yelled. "That's what you say to everythin! Johnny Cash, that's what you say to fuckin everythin!"

"Johnny Cash is everything," Henry replied gravely, and there was a moment of silence palpable in its considering surprise . . . then a gravelly burst of laughter not just from the men in the room with Henry but the two other "gentlemen" sitting in the storage room.

"You want me to shut the door, Mr. Balazar?" 'Cimi asked quietly.

"No, that's fine," Balazar said. He was second-generation Sicilian, but there was no trace of accent in his speech, nor was it the speech of a man whose only education had been in the streets. Unlike many of his contemporaries in the business, he had finished high school. Had in fact done more: for two years he had gone to business school--NYU. His voice, like his business methods, was quiet and cultured and American, and this made his physical aspect as deceiving as Jack Andolini's. People hearing his clear, unaccented American voice for the first time almost always looked dazed, as if hearing a particularly good piece of ventriloquism. He looked like a farmer or innkeeper or small-time mafioso who had been successful more by virtue of being at the right place at the right time than because of any brains. He looked like what the wiseguys of a previous generation had called a "Mustache Pete." He was a fat man who dressed like a peasant. This evening he wore a plain white cotton shirt open at the throat (there were spreading sweat-stains beneath the arms) and plain gray twill pants. On his fat sockless feet were brown loafers, so old they were more like slippers than shoes. Blue and purple varicose veins squirmed on his ankles.

'Cimi and Claudio watched him, fascinated.

In the old days they called him Il Roche--The Rock. Some of the old-timers still did. Always in the right-hand top drawer of his desk, where other businessmen might keep pads, pens, paper-clips, things of that sort, Enrico Balazar kept three decks of cards. He did not play games with them, however.

He built with them.

He would take two cards and lean them against each other, making an A without the horizontal stroke. Next to it he would make another A-shape. Over the top of the two he would lay a single card, making a roof. He would make A after A, overlaying each, until his desk supported a house of cards. You bent over and looked in, you saw something that looked like a hive of triangles. 'Cimi had seen these houses fall over hundreds of times (Claudio had also seen it happen from time to time, but not so frequently, because he was thirty years younger than 'Cimi, who expected to soon retire with his bitch of a wife to a farm they owned in northern New Jersey, where he would devote all his time to his garden . . . and to outliving the bitch he had married; not his mother-in-law, he had long since given up any wistful notion he might once have had of eating fettucini at the wake of La Monstra, La Monstra was eternal, but for outliving the bitch there was at least some hope; his father had had a saying which, when translated, meant something like "God pisses down the back of your neck every day but only drowns you once," and while 'Cimi wasn't completely sure he thought it meant God was a pretty good guy after all, and so he could only hope to outlive the one if not the other), but had only seen Balazar put out of temper by such a fall on a single occasion. Mostly it was something errant that did it--someone closing a door hard in another room, or a drunk stumbling against a wall; there had been times when 'Cimi saw an edifice Mr. Balazar (whom he still called Da Boss, like a character in a Chester Gould comic strip) had spent hours building fall down because the bass on the juke was too loud. Other times these airy constructs fell down for no perceptible reason at all. Once--this was a story he had told at least five thousand times, and one of which every person he knew (with the exception of himself) had tired--Da Boss had looked up at him from the ruins and said: "You see this 'Cimi? For every mother who ever cursed God for her child dead in the road, for every father who ever cursed the man who sent him away from the factory with no job, for every child who was ever born to pain and asked why, this is the answer. Our lives are like these things I build. Sometimes they fall down for a reason, sometimes they fall down for no reason at all."

Carlocimi Dretto thought this the most profound statement of the human condition he had ever heard.

That one time Balazar had been put out of temper by the collapse of one of his structures had been twelve, maybe fourteen years ago. There was a guy who came in to see him about booze. A guy with no class, no manners. A guy who smelled like he took a bath once a year whether he needed it or not. A mick, in other words. And of course it was booze. With micks it was always booze, never dope. And this mick, he thought what was on Da Boss's desk was a joke. "Make a wish!" he yelled after Da Boss had explained to him, in the way one gentleman explains to another, why it was impossible for them to do business. And then the Mick, one of those guys with curly red hair and a complexion so white he looked like he had TB or something, one of those guys whose names started with O and then had that little curly mark between the O and the real name, had blown on Da Boss's desk, like a nino blowing out the candles on a birthday cake, and cards flew everywhere around Balazar's head, and Balazar had opened the left top drawer in his desk, the drawer where other businessmen might keep their personal stationery or their private memos or something like that, and he had brought out a .45, and he had shot the Mick in the head, and Balazar's expression never changed, and after 'Cimi and a guy named Truman Alexander who had died of a heart attack four years ago had buried the Mick under a chickenhouse somewhere outside of Sedonville, Connecticut, Balazar had said to 'Cimi, "It's up to men to build things, paisan. It's up to God to blow them down. You agree?"

"Yes, Mr. Balazar," 'Cimi had said. He did agree.

Balazar had nodded, pleased. "You did like I said? You put him someplace where chickens or ducks or something like that could shit on him?"

"Yes."

"That's very good," Balazar said calmly, and took a fresh deck of cards from the right top drawer of his desk.

One level was not enough for Balazar, Il Roche. Upon the roof of the first level he would build a second, only not quite so wide; on top of the second a third; on top of the third a fourth. He would go on, but after the fourth level he would have to stand to do so. You no longer had to bend much to look in, and when you did what you saw wasn't rows of triangle shapes but a fragile, bewildering, and impossibly lovely hall of diamond-shapes. You looked in too long, you felt dizzy. Once 'Cimi had gone in the Mirror Maze at Coney and he had felt like that. He had never gone in again.

'Cimi said (he believed no one believed him; the truth was no one cared one way or the other) he had once seen Balazar build something which was no longer a house of cards but a tower of cards, one which stood nine levels high before it collapsed. That no one gave a shit about this was something 'Cimi didn't know because everyone he told affected amazement because he was close to Da Boss. But they would have been amazed if he had had the words to describe it--how delicate it had been, how it reached almost three quarters of the way from the top of the desk to the ceiling, a lacy construct of jacks and deuces and kings and tens and Big Akers, a red and black configuration of paper diamonds standing in defiance of a world spinning through a universe of incoherent motions and forces; a tower that seemed to 'Cimi's amazed eyes to be a ringing denia

l of all the unfair paradoxes of life.

If he had known how, he would have said: I looked at what he built, and to me it explained the stars.