The Running Man - By Stephen King Page 0,45

for this small city's muggers, lovers, hypes, and thieves. No one would venture out on State Street after dark without a police dog on a leash, or a score of fellow gang-members.

Number 94 was a crumbling, soot-encrusted building with ancient green shades pulled down over its windows. To Richards the house looked like a very old man who had died with cataracts on his eyes.

He pulled to the curb and got out. The street was dotted with abandoned air cars, some of them rusted down to almost formless hulks. On the edge of the park, a Studebaker lay on its side like a dead dog. This was not police country, obviously. If you left your car unattended, it would gain a clot of leaning, spitting, slate-eyed boys in fifteen minutes. In half an hour some of the leaning boys would have produced crowbars and wrenches and screwdrivers. They would tap them, compare them, twirl them, have mock swordfights with them. They would hold them up into the air thoughtfully, as if testing the weather or receiving mysterious radio transmission through them. In an hour the car would be a stripped carcass, from aircaps and cylinders to the steering wheel itself.

A small boy ran up to Richards as he was setting his crutches under himself. Puckered, shiny burn scars had turned one side of the boy's face into a hairless Frankenstein horror.

"Scag, mister? Good stuff. Put you on the moon." He giggled secretly, the lumped and knobbed flesh of his burnt face bobbing and writhing grotesquely.

"Fuck off," Richards said briefly.

The boy tried to kick one of his crutches out from under him, and Richards swung one of them in a low arc, swatting the boy's bottom. He ran off, cursing.

He made his way up the pitted stone steps slowly and looked at the door. It had once been blue, but now the paint had faded and peeled to a tired desert sky color. There had once been a doorbell, but some vandal had taken care of that with a cold chisel.

Richards knocked and waited. Nothing. He knocked again.

It was late afternoon now, and cold was creeping slowly up the street. Faintly, from the park beyond the end of the block, came the bitter clacking of October branches losing their leaves.

There was no one here. It was time to go.

Yet he knocked again, curiously convinced that there was someone in there.

And this time he was rewarded with the slow shuffling of house slippers. A pause at the door. Then: "Who's out there? I don't buy nothin. Go away."

"I was told to visit you," Richards said.

A peephole swung open with a minute squeak and a brown eye peeked through. Then the peephole closed with a snap.

"I don't know you," Flat dismissal.

"I was told to ask for Elton Parrakis."

Grudgingly: "Oh. You're one of those-"

Behind the door locks began to turn, bolts began to be unbolted, one by one. Chains dropped. There was the click of revolving tumblers in one Yale lock and then another. The chunk-slap of the heavy-duty Trap-Bolt being withdrawn.

The door swung open and Richards looked at a scrawny woman with no breasts and huge, knotted hands. Her face was unlined, almost cherubic, but it looked as if it had taken hundreds of invisible hooks and jabs and uppercuts in a no-holds-barred brawl with time itself. Perhaps time was winning, but she was not an easy bleeder. She was almost six feet tall, even in her flat, splayed slippers, and her knees were swollen into trees-tumps with arthritis. Her hair was wrapped in a bath turban. Her brown eyes, staring at him from under a deep ledge of brow (the eyebrows themselves clung to the precipice like desperate mountain bushes, struggling against the aridity and the altitude), were intelligent and wild with what might have been fear or fury. Later he understood she was simply muddled, afraid, tottering on the edge of insanity.

"I'm Virginia Parrakis," she said flatly. "I'm Elton's mother. Come in."

MINUS 051 AND COUNTING

She did not recognize him until she had led him into the kitchen to brew tea.

The house was old and crumbling and dark, furnished in a decor he recognized immediately from his own environment: Modern junkshop.

"Elton isn't here now," she said, brooding over the battered aluminum teapot on the gas ring. The light was stronger here, revealing the brown waterstains that blotched the wallpaper, the dead flies, souvenirs of summer past, on the windowsills, the old linoleum creased with black lines, the pile of wet wrapping paper