But ten seconds wasn't long” and it was easy to get jammed up… easy to cheat. The next kid might well say something like “Just then this great big bird - an Andean vulture, I think - flew down. Careless grabbed its neck and made it pull him out of that quicksand.” When the counsellor asked Did she?, you raised your hand if you thought she had, left it down if you thought she had blown it. In the case of the Andean vulture, the kid would almost surely have been invited to leave the circle.

Can you, Paul?

Yeah. That's how I survive. That's how come I'm able to maintain homes in both New York and L.A. and more rolling iron than there is in some used-car lots. Because I can, and it's not something to apologize for, goddammit. There are lots of guys out there who write a better prose line than I do and who have a better understanding of what people are really like and what humanity is supposed to mean - hell I know that. But when the counsellor asks Did he? about those guys, sometimes only a few people raise their hands. But they raise their hands for me… or for Misery… and in the end I guess they're both the same. Can I? Yeah. You bet I can. There's a million things in this world I can't do. Couldn't hit a curve ball, even back in high school. Can't fix a leaky faucet. Can't roller-skate or make an F-chord on the guitar that sounds like anything but shit. I have tried twice to be married and couldn't do it either time. But if you want me to take you away, to scare you or involve you or make you cry or grin, yeah. I can. I can bring it to you and keep bringing it until you holler uncle. I am able. I CAN.

The typewriter's insolent gunslinger-voice whispered into this deepening dream.

What we got here, friends, is a lot of two things - big talk and white space.

Can You?

Yes. Yes!

Did he?

No. He cheated. In Misery's Child the doctor never came. Maybe the rest of you forgot what happened last week, but the stone idol never forgets. Paul has to leave the circle. Pardon me, please. Now I must rinse. Now I must -

5

“ - rinse, “ he muttered, and slid over to the right. This dragged his left leg slightly askew, and the bolt of pain in his crushed knee was enough to wake him up. Less than five minutes had gone by. He could hear Annie washing dishes in the kitchen. Usually she sang as she did her chores. Today she was not singing; there was only the rattle of plates and the occasional hiss of rinse-water. Another bad sign. Here's a special weather bulletin for residents of Sheldon County - a tomado watch is in effect until 5.00 P.M. tonight. I repeat, a tomado watch - But it was time to stop playing games and get down to business. She wanted Misery back from the dead, but it had to be fair. Not necessarily realistic, just fair. If he could do it this morning, he could just maybe he could derail the depression he sensed coming on before it could get a real start.

Paul looked out the window, his chin on his palm. He was fully awake now, thinking fast and hard, but not really aware of the process. The top two or three layers of his conscious mind, which dealt with such things as when he had last shampooed, or whether or not Annie would be on time with his next dope allotment, seemed to have departed the scene entirely. That part of his head had quietly gone out to get a pastrami on rye, or something. There was sensory input, but he was not doing anything with it - not seeing what he was seeing, not hearing what he was hearing.

Another part of him was furiously trying out ideas, rejecting them, trying to combine them, rejecting the combinations. He sensed this going on but had no direct contact with it and wanted none. It was dirty down there in the sweatshops.

He understood what he was doing now as TRYING TO HAVE AN IDEA. TRYING TO HAVE AN IDEA wasn't the same thing as GETTING AN IDEA. GETTING AN IDEA was a more humble way of saying I am inspired, or Eureka! My muse has spoken!

The idea for Fast Cars had come to him one day in New York City. He had gone out with no more in mind than buying a VCR for the townhouse on 83rd Street. He had passed a parking lot and had seen an attendant trying to jimmy his way into a car. That was all. He had no idea if what he had seen was licit or illicit, and by the time he had walked another two or three blocks, he no longer cared. The attendant had become Tony Bonasaro. He knew everything about Tony but his name, which he later plucked from a telephone book. Half the story existed, full-blown, in his mind, and the rest was rapidly falling into place. He felt jivey, happy, almost drunk. The muse had arrived, every bit as welcome as an unexpected check in the mail. He had set out to get a video recorder and had gotten something much better instead. He had GOTTEN AN IDEA.

This other process - TRYING TO HAVE AN IDEA - was nowhere near as exalted or exalting, but it was every bit as mysterious… and every bit as necessary. Because when you were writing a novel you almost always got roadblocked somewhere, and there was no sense in trying to go on until you'd HAD AN IDEA.

His usual procedure when it was necessary to HAVE AN IDEA was to put on his coat and go for a walk. If he didn't need to HAVE AN IDEA, he took a book when he went for a walk. He recognized walking as good exercise, but it was boring. If you didn't have someone to talk to while you walked, a book was a necessity. But if you needed to HAVE AN IDEA, boredom could be to a roadblocked novel what chemotherapy was to a cancer patient.

Halfway through Fast Cars, Tony had killed Lieutenant Gray when the lieutenant tried to slap the cuffs on him in a Times Square movie theater. Paul wanted Tony to get away with the murder - for awhile, anyway - because there could be no third act with Tony sitting in the cooler. Yet Tony could not simply leave Gray sitting in the movie theater with the haft of a knife sticking out of his left armpit, because there were at least three people who knew Gray had gone to meet Tony.

Body disposal was the problem, and Paul didn't know how to solve it. It was a roadblock. It was the game. It was Careless just killed this guy in a Times Square movie theater and now he's got to get the body back to his car without anyone saying “Hey mister, is that guy as dead as he looks or did he just pitch a fit or something?” If he gets Gray's corpse back to the car, he can drive it to Queens and dump it in this abandoned building project he knows about. Paulie? Can You?

There was no ten-second deadline, of course - he'd had no contract for the book, had written it on spec, and hence there was no delivery date to think about. Yet there was always a deadline, a time after which you had to leave the circle, and most writers knew it. If a book remained roadblocked long enough, it began to decay, to fall apart; all the little tricks and illusions started to show.

He had gone for a walk, thinking of nothing on top of his mind, the way he was thinking of nothing on top right now. He had walked three miles before someone sent up a flare from the sweatshops down below: Suppose he starts a fire in the theater?

That looked like it might work. There was no sense of giddiness, no true feeling of inspiration; he felt like a carpenter looking at a piece of lumber that might do the job.

He could set afire in the stuffing of the seat next to him, how's that? Goddam seats in those theaters are always tom up. And there'd be smoke. Lots of it. He could hold off leaving as long as possible, then drag Gray out with him. He can pass Gray off as a smoke-inhalation victim. What do you think?

He had thought it was okay. Not great, and there were plenty of details still to be worked out, but it looked okay. He'd HAD AN IDEA. The work could proceed.

He'd never needed to HAVE AN IDEA to start a book, but he understood instinctively that it could be done.