There was a sudden rattling, metallic sound behind him. It came just as his hand closed around the doorknob, and an observer might have thought the brushed steel of the knob carried an electric charge. He jerked convulsively, eyes widening, other facial features drawing in, grimacing.

Then he had control of himself, a little, anyway, and he let 90 of the doorknob and turned carefully around. His joints creaked. He began to walk back to the bathroom door, step by leaden step.

The shower curtain, which he had pushed back to look into the tub, was now drawn. The metallic rattle, which had sounded to him like a stir of bones in a crypt, had been the curtain rings on the overhead bar. Jack stared at the curtain. His face felt as if it had been heavily waxed, all dead skin on the outside, live, hot rivulets of fear on the inside. The way he had felt on the playground.

There was something behind the pink plastic shower curtain. There was something in the tub.

He could see it, ill defined and obscure through the plastic, a nearly amorphous shape. It could have been anything. A trick of the light. The shadow of the shower attachment. A woman long dead and reclining in her bath, a bar of Lowila in one stiffening hand as she waited patiently for whatever lover might come.

Jack told himself to step forward boldly and rake the shower curtain back. To expose whatever might be there. Instead he turned with jerky, marionette strides, his heart whamming frightfully in his chest, and went back into the bed/sitting room.

The door to the hall was shut.

He stared at it for a long, immobile second. He could taste his terror now. It was in the back of his throat like a taste of gone-over cherries.

He walked to the door with that same jerky stride and forced his fingers to curl around the knob.

(It won't open.)

But it did.

He turned off the light with a fumbling gesture, stepped out into the hall, and pulled the door shut without looking back. From inside, he seemed to hear an odd wet thumping sound, far off, dim, as if something had just scrambled belatedly out of the tub, as if to greet a caller, as if it had realized the caller was leaving before the social amenities had been completed and so it was now rushing to the door, all purple and grinning, to invite the caller back inside. Perhaps forever.

Footsteps approaching the door or only the heartbeat in his ears?

He fumbled at the passkey. It seemed sludgy, unwilling to turn in the lock. He attacked the passkey. The tumblers suddenly fell and he stepped back against the corridor's far wall, a little groan of relief escaping him. He closed his eyes and all the old phrases began to parade through his mind, it seemed there must be hundreds of them,

(cracking up not playing with a full deck lostya marbles guy just went loony tunes he went up and over the high side went bananas lost his football crackers nuts half a seabag)

all meaning the same thing: losing your mind.

“No,” he whimpered, hardly aware that he had been reduced to this, whimpering with his eyes shut like a child. “Oh no, God. Please, God, no.”

But below the tumble of his chaotic thoughts, below the triphammer beat of his heart, he could hear the soft and futile sound of the doorknob being turned to and fro as something locked in tried helplessly to get out, something that wanted to meet him, something that would like to be introduced to his family as the storm shrieked around them and white daylight became black night. If he opened his eyes and saw that doorknob moving he would go mad. So he kept them shut, and after an unknowable time, there was stillness.

Jack forced himself to open his eyes, half-convinced that when he did, she would be standing before him. But the hall was empty.

He felt watched just the same.

He looked at the peephole in the center of the door and wondered what would happen if he approached it, stared into ft. What would he be eyeball to eyeball with?

His feet were moving

(feets don't fail me now)

before he realized it. He turned them away from the door and walked down to the main hall, his feet whispering on the blue-black jungle carpet. He stopped halfway to the stairs and looked at the fire extinguisher. He thought that the folds of canvas were arranged in a slightly different manner. And he was quite sure that the brass nozzle had been pointing toward the elevator when he came up the hall. Now it was pointing the other way.

“I didn't see that at all,” Jack Torrance said quite clearly. His face was white and haggard and his mouth kept trying to grin.

But he didn't take the elevator back down. It was too much like an open mouth. Too much by half. He took the stairs.

31. The Verdict

He stepped into the kitchen and looked at them, bouncing the passkey a few inches up off his left hand, making the chain on the white metal tongue jingle, then catching it again. Danny was pallid and worn out. Wendy had been crying, he saw; her eyes were red and darkly circled. He felt a sudden burst of gladness at this. He wasn't suffering alone, that was sure.

They looked at him without speaking.

“Nothing there,” he said, astounded by the heartiness of his voice. “Not a thing.”

He bounced the passkey up and down, up and down, smiling reassuringly at them, watching the relief spread over their faces, and thought he had never in his life wanted a drink so badly as he did right now.

32. The Bedroom

Late that afternoon Jack got a cot from the first-floor storage room and put it in the corner of their bedroom. Wendy had expected that the boy would be half the night getting to sleep, but Danny was nodding before “The Waltons” was half over, and fifteen minutes after they had tucked biro in he was far down in sleep, moveless, one band tucked under his cheek. Wendy sat watching him, holding her place in a fat paperback copy of Cashelmara with one finger. Jack sat at his desk, looking at his play.

“Oh shit,” Jack said.

Wendy looked up from her contemplation of Danny. “What?”

“Nothing.”

He looked down at the play with smoldering ill-temper. How could he have thought it was good? It was puerile. It had been done a thousand times. Worse, he had no idea how to finish it. Once it had seemed simple enough. Denker, in a fit of rage, seizes the poker from beside the fireplace and beats saintly Gary to death. Then, standing spread-legged over the body, the bloody poker in one hand, he screams at the audience: “It's here somewhere and I will find it!” Then, as the lights dim and the curtain is slowly drawn, the audience sees Gary's body face down on the forestage as Denker strides to the upstage bookcase and feverishly begins pulling books from the shelves, looking at them, throwing them aside. He bad thought it was something old enough to be new, a play whose novelty alone might be enough to see it through a successful Broadway run: a tragedy in five acts.

But, in addition to his sudden diversion of interest to the Overlooks history, something else had happened. He had developed opposing feelings about his characters. This was something quite new. Ordinarily he liked all of his characters, the good and the bad. He was glad he did. It allowed him to try to see all of their sides and understand their motivations more clearly. His favorite story, sold to a small southern Maine magazine called Contraband for copies, had been a piece called “The Monkey Is Here, Paul DeLong.” It had been about a child molester about to commit suicide in his furnished room. The child molester's name had been Paul DeLong, Monkey to his friends. Jack had liked Monkey very much. He sympathized with Monkey's bizarre needs. knowing that Monkey was not the only one to blame for the three rape-murders in his past. There had been bad parents, the father a beater as his own father had been, the mother a limp and silent dishrag as his mother had been. A homosexual experience in grammar school. Public humiliation. Worse experiences in high school and college. He had been arrested and sent to an institution after exposing himself to a pair of little girls getting off a school bus. Worst of all, he had been dismissed from the institution, let back out onto the streets, because the man in charge had decided he was all right. This man's name had been Grimmer. Grimmer had known that Monkey DeLong was exhibiting deviant symptoms, but he had written the good, hopeful report and had let him go anyway. Jack liked and sympathized with Grimmer, too. Grimmer had to run an understaffed and underfunded institution and try to keep the whole thing together with spit, baling wire, and nickle-and-dime appropriations from a state legislature who had to go back and face the voters. Grimmer knew that Monkey could interact with other people, that he did not soil his pants or try to stab his fellow inmates with the scissors. He did not think he was Napoleon. The staff psychiatrist in charge of Monkey's case thought there was a better-than-even chance that Monkey could make it on the street, and they both knew that the longer a man is in an institution the more he comes to need that closed environment, like a junkie with his smack. And meanwhile, people were knocking down the doors. Paranoids, schizoids, cycloids, semicatatonics, men who claimed to have gone to heaven in flying saucers, women who had burned their children's sex organs off with Bic lighters, alcoholics, pyromaniacs, kleptomaniacs, manic-depressives, suicidals. Tough old world, baby. If you're not bolted together tightly, you're gonna shake, rattle, and roll before you turn thirty. Jack could sympathize with Grimmer's problem. He could sympathize with the parents of the murder victims. With the murdered children themselves, of course. And with Monkey DeLong. Let the reader lay blame. In those days he hadn't wanted to judge. The cloak of the moralist sat badly on his shoulders.