The Passage (79 page)

She never should have brought one to the Wall that night, the night the girl had appeared. That was her big mistake. Soo hadn’t meant to, not really; she’d been carrying the book around in her pouch all day, hoping for a free minute, and had forgotten it was there. Well, maybe not forgotten, not exactly; but certainly it hadn’t been Soo’s intention, as things had occurred, that she should decide to make a quick visit to the Armory—where, alone in the quiet with no one to see her, she had pulled it out and started to read. The book she’d brought was
Belle of the Ball
(she’d read them all and started over), and encountering its opening passages for the second time—the impetuous Charlene descending the stairs to find the arrogant and mutton-whiskered Talbot Carver, her father’s rival, whom she loved but also hated—Soo found herself instantly reliving the pleasures of her first discovery, a feeling magnified by the knowledge that Charlene and Talbot, after much hemming and hawing, would find each other in the end. That was the best thing about the stories in the books: they always ended well.

These were Soo’s thoughts when, twenty-four hours later, busted from First Captain,
Belle of the Ball
still stashed in her pouch (why couldn’t she just leave the damn thing at home?), she heard footsteps ascending behind her and turned to see Jimmy Molyneau climbing off the ladder onto Firing Platform Nine. Of course it would be Jimmy. Probably he had come to gloat, or apologize, or some awkward combination of the two. Though he was hardly one to talk, Soo thought bitterly, not showing up at First Bell.

Jimmy? she said. Where the hell have you been?

·   ·   ·

The night was inhabited by dreams. In the houses and barracks, in the Sanctuary and Infirmary, dreams moved through the dozing souls of First Colony, alighting here and there, like wafting spirits.

Some, like Sanjay Patal, had a secret dream, one they’d been having all their lives. Sometimes they were aware of this dream and sometimes they were not; the dream was like an underground river, constantly flowing, that might from time to time rise to the surface, briefly washing their daylight hours with its presence, as if they were walking in two worlds at the same time. Some dreamed of a woman in her kitchen, breathing smoke. Others, like the Colonel, dreamed of a girl, alone in the dark. Some of these dreams became nightmares—what Sanjay did not remember, had never remembered, was the part of the dream that involved the knife—and sometimes the dream wasn’t like a dream at all; it was more real than reality itself, it sent the dreamer stumbling helplessly into the night.

Where did they come from? What were they made of? Were they dreams or were they something more—intimations of a hidden reality, an invisible plane of existence that revealed itself only at night? Why did they feel like memories, and not just memories—someone
else’s
memories? And why, on this night, did the entire population of First Colony seem to lapse into this dreamer’s world?

In the Sanctuary, one of the three J’s, Little Jane Ramirez, daughter of Belle and Rey Ramirez—the same Rey Ramirez who, having found himself suddenly and terrifyingly alone at the power station, and troubled by dark urges he could neither contain nor express, was, at that moment, cooking himself to a crisp on the electrified fence—was dreaming of a bear. Jane had just turned four years old. The bears she knew were the ones in books and in stories Teacher told—large, mild creatures of the forest whose hairy bulk and gentle faces were the seat of a benign animal wisdom—and that was true of the bear in her dream, at least at the beginning. Jane had never seen an actual bear, but she had seen a viral. She was among the Littles of the Sanctuary who had actually beheld the viral Arlo Wilson with her own eyes. She had been rising from her cot, which was positioned in the last row, farthest from the door—she was thirsty and had meant to ask Teacher for a cup of water—when he had burst through the window in a great shattering of glass and metal and wood, landing practically on top of her. She had thought at first it was a man, because it seemed like a man, with a man’s displacement and presence. But he wasn’t wearing any clothes, and there was something different about him, especially his eyes and mouth, and the way he seemed to glow. He was looking at her in a sad way—his sadness seemed suggestively bearlike—and Jane was about to ask him what was wrong and why he glowed like that when she heard a cry behind her and turned to see Teacher racing toward them. She passed over Jane like a cloud, the blade she kept hidden in a sheath beneath her billowing skirt clutched in her outstretched hand, one arm raised over her head to bring it down upon him like a hammer. The next part Jane did not see—she had dropped to the floor and begun to scramble away—but she heard a soft cry and a ripping sound and the thud of something falling. This was followed by more yelling—“Over here!” someone was saying, “look over here!”—and then more screams and shouts and a general commotion of grown-ups, of mothers and fathers coming in and out, and the next thing Jane knew she was being pulled from under her cot and whisked with all the other Littles up the stairs by a woman who was crying. (Only later did she realize that this woman was her mother.)

Nobody had explained these confusing events, nor had Jane told anyone what she’d seen. Teacher was nowhere around; some of the Littles—Fanny Chou and Bowow Greenberg and Bart Fisher—were whispering that she was dead. But Jane didn’t think she was. To be dead was to lie down and sleep forever, and the woman whose airborne leap she had witnessed did not seem even slightly tired. Just the opposite: at that moment, Teacher had seemed wondrously, powerfully alive, animated by a grace and strength that Jane had never experienced—that even now, a whole night later, excited and embarrassed her. Hers was a compact existence of compact movements, a place of order and safety and quiet routine. There were the usual squabbles and hurt feelings, and days when Teacher seemed cross from beginning to end, but in general the world Jane knew was bathed in an essential mildness. Teacher was the source of this feeling; it radiated from her person in a blush of maternal warmth, as the rays of the sun heated the air and earth; but now, in the perplexing aftermath of the night’s events, Jane sensed she had glimpsed something secret about this woman who had so selflessly cared for all of them.

That was when it had occurred to Jane that the thing she’d seen was love. It could be nothing less than the force of love that had lifted Teacher into the air, into the waiting arms of the glowing bear-man, whose light was the radiance of royalty. He was a bear-prince who had come to take her away to his castle in the forest. So perhaps that was where Teacher had gone off to now, and why all the Littles had been moved upstairs: to wait for her. When she returned to them, her rightful identity as a queen of the forest revealed, they would be brought back downstairs to the Big Room, to welcome and celebrate her with a grand party.

These were the stories Jane was telling herself as she fell asleep in a room with fifteen other sleeping Littles, all dreaming their various dreams. In Jane’s dream, which commenced as a rewriting of the prior night’s events, she was jumping up and down on her bed in the Big Room when she saw the bear come in. He did not enter through the window this time but through the door, which seemed small and far away, and he was different than he’d been the night before, fat and woolly like the bears in books, lumbering his wise and friendly way toward her on all fours. When he reached the foot of Jane’s bed he sat on his haunches and gradually drew himself upright, revealing the downy carpet of his great smooth tummy, his immense bear head and damp bear eyes and huge, paddled hands. It was a wonderful thing to see, strange and yet expected, like a present Jane had always believed would arrive, and her four-year-old’s heart was moved to a rush of admiration for this great noble being. He stood in this manner a moment, taking her in with a thoughtful expression, then said to Jane, who had continued her happy bouncing, addressing her in the rich, masculine tone of his woodland home, Hello, Little Jane. I’m Mister Bear. I have come to eat you up.

This came out as funny—Jane felt a tickling in her stomach that was the beginning of a laugh—but the bear did not react, and as the moment elongated, she noticed there were other aspects to his person, disturbing aspects: his claws, which emerged in white curves from his mittlike paws; his wide and powerful jaws; his eyes, which did not seem friendly or wise anymore but dark with unknowable intention. Where were the other Littles? Why was Jane alone in the Big Room? But she wasn’t alone; Teacher was in the dream now also, standing beside the bed. She looked as she always looked, though there was something vague about the features of her face, as if she were wearing a mask of gauzy fabric. Come on now, Jane, urged Teacher. He’s already eaten all the other Littles. Be good and stop that jumping so Mister Bear can eat you up.
I—don’t—want—to
, Jane replied, still bouncing, for she did not want to be eaten—a request that seemed more silly than frightening, but even so.
I—don’t—want—to
. I mean it, warned Teacher, her voice rising. I am asking you nicely, Little Jane. I am going to count to three.
I—don’t—want—to
, Jane repeated, applying the greatest possible vigor to her defiant bouncing.
I—don’t—want—to
. Do you see? said Teacher, turning to the bear, who had continued his upright vigil at the foot of the cot. She raised her pale arms in exasperation. Do you see now? This is what I have to put up with, all day long. It’s enough to make a person lose her mind. Okay, Jane, she said, if that’s how you’re going to be. Don’t say I didn’t warn you.

Which was when the dream took its last, sinister turn into the realm of nightmare. Teacher had seized Jane by the wrists, forcing her down onto the bed. Up close, Jane saw that a piece of Teacher’s neck was missing, like a bite snatched from an apple, and there were thready things hanging there, a collection of dangling strips and tubes, wet and glistening and gross. Only then did Jane understand that all the other Littles had indeed been eaten, just as Teacher had said; they’d all been eaten by Mister Bear, bite by bite by bite, though he wasn’t Mister Bear anymore, he was the glowing man.
I don’t want this
, Jane was screaming,
I don’t want this!
But she had no strength to resist, and she watched in helpless terror as first her foot and then her ankle and then the whole of her leg were swallowed into the dark cave of his mouth.

The dreams bespoke a range of concerns, influences, tastes. There were as many dreams as there were dreamers. Gloria Patal dreamed of a massive swarm of bees, covering her body. Part of her understood these bees to be symbolic; each bee that crawled upon her flesh was a worry she had carried in her life. Small worries, like whether or not it would rain on a day when she had planned to work outside, or whether or not Mimi, Raj’s widow, her only real friend, was angry with her on a day when she had failed to visit; but larger worries, too. Worries about Sanjay, and about Mausami. The worry that the pain in her lower back and the cough that sometimes woke her at night were harbingers of something worse. Included in this catalog of apprehensions were the worried love she had felt for each of the babies she had failed to carry to term, and the knot of dread that tightened inside her each night at Evening Bell, and the more generalized worry that she—that all of them—might just as well be dead already, for all the chance they had. Because you couldn’t not think about it; you did your best to carry on (that’s what Gloria had told her daughter when she’d announced her intentions to marry Galen, crying all the while over Theo Jaxon; you had to carry on), but the facts were the facts: someday those lights were going out. So perhaps the greatest worry of all was that one day you would realize that all the worries of your life amounted to one thing: the desire to just stop worrying.

That’s what the bees were, they were worries large and small, and in the dream they were moving all over her, her arms and legs and face and eyes, even inside her ears. The setting of the dream was contiguous with Gloria’s last moment of consciousness; having tried without success to rouse her husband, and having fended off the inquires of Jimmy and Ian and Ben and the others who had come to seek his counsel—the matter of the boy Caleb had yet to be determined—Gloria had, against her better instincts, dozed off at the table of her kitchen, her head rocked back, her mouth hanging open, soft snores issuing from deep within her sinuses. This was all true in the dream—the sound of her snoring was the sound of the bees—with the singular addition of the swarm, which had, for reasons that were not entirely clear, entered the kitchen to settle in a single mass upon her, like a great quivering blanket. It seemed obvious now that this was the sort of thing bees did; why had she failed to protect herself against this eventuality? Gloria could feel the prickling scrape of their tiny feet on her skin, the buzzing flutter of their wings. To move, she knew, even to breathe, would arouse them into a lethal fury of simultaneous stinging. In this condition of excruciating stasis she remained—it was a dream of not moving—and when she heard the sound of Sanjay’s footsteps descending the stairs, and felt his presence in the room, followed by his wordless departure and the slap of the screen door as he stepped from the house, Gloria’s mind lit up with a silent scream that launched her into consciousness while also erasing any memory of what had happened: she awakened having forgotten not only about the bees, but about Sanjay.

On the other side of the Colony, lying on his cot in a cloud of his own smell, the man known as Elton, a lifelong fantasist of splendidly ornate and erotic flights, was having a good dream. This dream—the hay dream—was Elton’s favorite, because it was true, taken from life. Though Michael did not believe him—and, really, Elton had to admit, why would he?—there had been a time, many years ago, when Elton, a man of twenty, had enjoyed the favors of an unknown woman who had chosen him, or so it appeared, because his blindness guaranteed his silence. If he didn’t know who this woman was—and she never spoke to him—he couldn’t say anything, which implied that she was married. Perhaps she wanted a child with a man who wasn’t able, or had simply wished for something else in her life. (In self-pitying moments, Elton wondered if she’d done it on a dare.) It didn’t really matter; he welcomed these visits, which always came at night. Sometimes he would simply awaken into the experience, its distinctive sensations, as if the reality had been called forth out of a dream, to which it would then return, fueling the empty nights to come; on other occasions the woman would come to him, take him silently by the hand, and lead him elsewhere. This was the circumstance of the hay dream, which unfolded in the barn, surrounded by the whinnying of horses and the sweet dry smell of grass, lately cut from the field. The woman did not speak; the only sounds she made were the sounds of love; and it ended much too quickly, with a final shuddering exhalation and a mound of hair brushing over his cheeks as the woman released herself, rising wordlessly away. He always dreamed these events just as they’d occurred, in all their tactile contours, up to the moment when, lying alone on the floor of the barn, wishing only to have seen the woman, or even just to have heard her speak his name, he tasted salt on his lips and knew that he was crying.