that? About my mind?â
He glares at her. âWhatâs going on, Mother? Was Kyle in some sort of trouble?â
âOh, he was always in trouble. You know that. He was a bad boy. He wasnât like you, Walter. You were the good boy and he was the bad one. Thatâs what your poor Aunt Bernadette always said. You know that.â
âNo, I donât, Mom. I donât remember anything about Brownâs Mill and really donât care to.â
His eye catches the framed photograph on the wall over the telephone set. The three of them. Mom, Dad, Wally. Wally is eight. He wears one of those big wide striped ties from the seventies. His father is in his navy uniform. Somber, angry, imperious, unsmiling.
Yes, the spitting image.
You were the good boy, Walter .
âItâs really upsetting the way that policeman keeps coming by here,â his mother is saying. âIâm at my witâs end about it. All the questions. I donât know what to do.â
I lived here once . Wally has to repeat the thought to himself as he looks around the place. I lived here. In this house. For sixteen years .
Here, in this very room, he watched Land of the Lost and Josie and the Pussycats every Saturday morning, reeling from a sugar buzz of Lucky Charms. Over there in the dining room he ate his motherâs turkey loaf and âSwedish goulashââa mishmash of hamburger and Franco-American spaghetti that heâd loved so well. And in the bathroom, from the time he was twelve, he masturbated looking at pictures of bodybuilders in the ads in the back of Superman comic books.
âAre you still in there, Wally?â
His father would bang his fist against the door. Wally twitches a little, remembering.
âJesus Christ, hurry up! What do you do in there anyway?â
Ah, but his father would find out. Once, when the door wasnât locked, Dad had caught him. He said nothing. He just grabbed the comic book from Wallyâs hand, glared down at it, and tore it up savagely, leaving the pieces on the floor.
âYou can stay here, Wally,â his mother is telling him. âYour room is stillââ
âThe same?â He laughs, looking over at her as she wrings her hands. âNo, thank you, Mom. Iâve made other arrangements.â
She looks hurt, but just for a moment. Sheâs too caught up with losing her mind to spare much time for him. And wasnât that always the way?
âI need your help, Walter. Please .â
He sighs. âI canât give you the kind of help you need, Mom. You need a professional.â
âJust one small favor, Wally. Thatâs all I ask.â
He studies her face. It, too, is the same. Sheâs seventy-three, but she could easily pass for twenty years younger. Her blond hair has faded to gray, yet her eyes are still fluorescent blue, her skin still creamy and smooth. Only her hands have aged: wrinkled and spotted, with the veins raised and purple.
She implores him now with those hands. âOne favor, Wally.â
He looks at her. âWhatâs going on, Mother?â
âI need your help.â
âWhat kind of help?â
âI need you to get rid of a crate for me.â
He blinks. âA crate?â
âYes. Take it down to the swamp in Dogtown. Itâs too heavy for me to move. But I need to get rid of it as soon as possible.â
Wally leans in close, studying her eyes.
âWill you do it for me, Walter? Please?â
âWhy should I do anything for you, Mother?â he whispers, only inches now from her face. âWhat did you ever do for me?â
âPlease, Walter. Please.â
He backs off. âWhere is it? This crate?â
âIn the basement, Walter. Behind the furnace.â
In Wallyâs last show, some moth-eaten musical touring upstate New York, he met an old woman. She was about his motherâs age, fair and pretty like her too. Her name was Cora, and