come.
âYouâre the lookout today,â he says. âJust like when we smeared shit on the doorbells.â
He starts walking, knowing that Iâll follow him.
âWhat are you doing?â I say to his back.
âWe. What are we . . .â he replies, without turning around. Iâm almost certain that heâs smiling. âI could tell you, of course, but then it wouldnât be a surprise.â
We pass the outhouses; we pass the stand with the rusting bicycles.
âSurprises are always nice,â he says.
I nod, heâs probably right. When Iâm with him, I think more slowly.
âYouâre my friend,â he says.
By now weâre standing in front of the door leading down to the caretakerâs workshop. The boy points to a paving stone.
âStand there and keep a lookout. If you hear the caretakerâs keys then run down and knock three times.â
The boy quickly sneaks inside. I stand on the paving stone. I want to run away, but I stay where I am. I can hear the wind rustle the leaves in the trees; I can hear my own breathing, but no keys.
Then the door is flung open. The boy waves a key over his head like a prize he has just won in a competition. He grabs hold of my arm and drags me along.
âJust you wait until you see this,â he says.
We cross the courtyard, pass a bird bath, and arrive at a different basement door. The boy quickly pulls me down the steps. He inserts the key into the lock and opens it. The darkness inside is total.
âHurry up,â he says. âDonât just stand there.â
The door closes behind us.
We walk down a short passage. Thereâs a sharp smell: glue, possibly, but Iâm not sure. I hear the boy fumble with something. The light in the ceiling flickers a couple of times before it comes on. Weâre surrounded by cats smoking pipes, by redheaded girls with bushy tails peeking out from under their dresses.
Along the walls there are work tables and piles of fabric in different colours and patterns. âSurprises are always nice,â says the boy again. Weâre in a doll workshop.
I know I ought to leave, but I canât take my eyes off an anteater with a top hat and a monkey with a walking stick and red shoes. I follow the work tables: more dolls, and giraffes with long ties that reach all the way down their necks. On a bulletin board is a photo of an old woman bent over a sewing machine. Sheâs stitching ears onto a rabbit and sewing paws on a dog. In other photographs she sits surrounded by children who hold the dolls on their laps. The children are laughing and she smiles proudly at the photographer. In the last few pictures thereâs a little girl with no hair in a hospital bed. Sheâs hugging a crocodile with glasses.
I hear a growl behind me like a dog with a bone. The boy is standing with a full-size male doll. At first it looks as if heâs embracing it, then I see that he has sunk his teeth into its neck. The boy rips off half the head and yellow stuffing spills out. Our eyes meet and he throws down the doll. The boy takes a pair of scissors from one of the work tables and ignores me while he cuts the arms and legs off the dolls. I walk backwards out of the room. The boy cuts the ears off a zebra and the trunk off an elephant. I walk down the passage and emerge outside.
I stand on the basement steps while my eyes get used to the light. Then I hear a jingling. A large bunch of keys getting closer and closer.
I throw myself behind the bushes along the wall. Below the leaves I can make out the caretakerâs trousers. He stops right outside the bush Iâm lying behind. I press my eyes shut and hope that he canât see me.
He lingers for a while before he continues down the steps and opens the door to the doll workshop.
Iâm in my bed, I still canât sleep. My dad comes home from work late. He sits in the kitchen eating a rye bread sandwich he has just
S. Ravynheart, S.A. Archer
Stephen G. Michaud, Roy Hazelwood