Stephen King - Wolves of the Calla

"The trains that bring the roont ones back from Thunderclap come on those tracks," he murmured to Oy. And did he feel the tug of the Beam? Jake was sure he did. He had an idea that when they left Calla Bryn Sturgis- if they left Calla Bryn Sturgis-it would be along those tracks.

He stood where he was a moment longer, feet out of the stirrups, then headed the pony up the crumbling driveway toward the building. To Jake it looked like a Quonset hut on a military base. Oy, with his short legs, was having hard going on the broken-up surface. That busted-up paving would be dangerous for his horse, too. Once the frozen gate was behind them, he dismounted and looked for a place to tether his mount. There were bushes close by, but something told him they were too close. Too visible. He led the pony out onto the hardpan, stopped, and looked around at Oy. "Stay!"

"Stay! Oy! Ake!"

Jake found more bushes behind a pile of boulders like a strew of huge and eroded toy blocks. Here he felt satisified enough to tether the pony. Once it was done, he stroked the long, velvety muzzle. "Not long," he said. "Can you be good?"

The pony blew through his nose and appeared to nod. Which meant exactly nothing, Jake knew. And it was probably a needless precaution, anyway. Still, better safe than sorry. He went back to the driveway and bent to scoop the bumbler up. As soon as he straightened, a row of brilliant lights flashed on, pinning him like a bug on a microscope stage. Holding Oy in the curve of one arm, Jake raised the other to shield his eyes. Oy whined and blinked.

There was no warning shout, no stern request for identification, only the faint snuffle of the breeze. The lights were turned on by motion-sensors, Jake guessed. What came next? Machine-gun fire directed by dipolar computers? A scurry of small but deadly robots like those Roland, Eddie, and Susannah had dispatched in the clearing where the Beam they were following had begun? Maybe a big net dropping from overhead, like in this jungle movie he'd seen once on TV?

Jake looked up. There was no net. No machine-guns, either. He started walking forward again, picking his way around the deepest of the potholes and jumping over a washout. Beyond this latter, the driveway was tilted and cracked but mostly whole. "You can get down now," he told Oy. "Boy, you're heavy. Watch out or I'll have to stick you in Weight Watchers."

He looked straight ahead, squinting and shielding his eyes from the fierce glare. The lights were in a row running just beneath the Quonset's curved roof. They threw his shadow out behind him, long and black. He saw rock-cat corpses, two on his left and two more on his right. Three of them were little more than skeletons. The fourth was in a high state of decomposition, but Jake could see a hole that looked too big for a bullet. He thought it had been made by a bah-bolt. The idea was comforting. No weapons of super-science at work here. Still, he was crazy not to be hightailing it back toward the river and the Calla beyond it. Wasn't he? "Crazy," he said.

"Razy," Oy said, once more padding along at Jake's heel.

A minute later they reached the door of the hut. Above it, on a rusting steel plate, was this:

On the door itself, now hanging crooked by only two screws, was another sign. A joke? Some sort of nickname? Jake thought it might be a little of both. The letters were choked with rust and eroded by God knew how many years of blowing sand and grit, but he could still read them:

Jake expected the door to be locked and wasn't disappointed. The lever handle moved up and down only the tiniest bit. He guessed that when it had been new, there'd been no give in it at all. To the left of the door was a rusty steel panel with a button and a speaker grille. Beneath it was the word VERBAL. Jake reached for the button, and suddenly the lights lining the top of the building went out, leaving him in what at first seemed like utter darkness. They're on a timer , he thought, waiting for his eyes to adjust. A pretty short one. Or maybe they re just getting tired, like everything else the Old People left behind .

His eyes readapted to the moonlight and he could see the entry-box again. He had a pretty good idea of what the verbal entry code must be. He pushed the button.

"WELCOME TO ARC QUADRANT OUTPOST 16," said a voice. Jake jumped back, stifling a cry. He had expected a voice, but not one so eerily like that of Blaine the Mono. He almost expected it to drop into a John Wayne drawl and call him little trailhand. "THIS IS A MEDIUM SECURITY OUTPOST. PLEASE GIVE THE VERBAL ENTRY CODE. YOU HAVE TEN SECONDS. NINE… EIGHT…"

"Nineteen," Jake said.

"INCORRECT ENTRY CODE. YOU MAY RETRY ONCE. FIVE… FOUR… THREE…"

"Ninety-nine," Jake said.

"THANKYOU."

The door clicked open.

Jake and Oy walked into a room that reminded him of the vast control-area Roland had carried him through beneath the city of Lud, as they had followed the steel ball which had guided them to Blaine's cradle. This room was smaller, of course, but many of the dials and panels looked the same. There were chairs at some of the consoles, the kind that would roll along the floor so that the people who worked here could move from place to place without getting to their feet. There was a steady sigh of fresh air, but Jake could hear occasional rough rattling sounds from the machinery driving it. And while three-quarters of the panels were lighted, he could see a good many that were dark. Old and tired: he had been right about that. In one corner was a grinning skeleton in the remains of a brown khaki uniform.

On one side of the room was a bank of TV monitors. They reminded Jake a little bit of his father's study at home, although father had had only three screens-one for each network- and here there were… he counted. Thirty. Three of them were fuzzy, showing pictures he couldn't really make out. Two were rolling rapidly up and up, as if the vertical hold had fritzed out. Four were entirely dark. The other twenty-one were projecting pictures, and Jake looked at these with growing wonder. Halfa dozen showed various expanses of desert, including the hilltop guarded by the two misshapen cactuses. Two more showed the outpost-the Dogan-from behind and from the driveway side. Under these were three screens showing the Dogan's interior. One showed a room that looked like a galley or kitchen. The second showed a small bunkhouse that looked equipped to sleep eight (in one of the bunks, an upper, Jake spied another skeleton). The third inside-the-Dogan screen presented this room, from a high angle. Jake could see himself and Oy. There was a screen with a stretch of the railroad tracks on it, and one showing the Little Whye from this side, moonstruck and beautiful. On the far right was the causeway with the train-tracks crossing it.

It was the images on the other eight operating screens that astounded Jake. One showed Took's General Store, now dark and deserted, closed up till daylight. One showed the Pavilion. Two showed the Calla high street. Another showed Our Lady of Serenity Church, and one showed the living room of the rectory… inside the rectory! Jake could actually see the Pere's cat, Snugglebutt, lying asleep on the hearth. The other two showed angles of what Jake assumed was the Manni village (he had not been there).

Where in hell's name are the cameras? Jake wondered. How come nobody sees them ?