"Give it a try," Jack says.
Fred says, "Okay," knits his fingers together, and bows his head. Then he looks up again, and his eyes are as vulnerable as a baby's. "Ahhh . . . I don't know how to put this. Okay, I'll just say it. With part of my brain, I think Judy knows something. Anyhow, I want to think that. On the other hand, I don't want to fool myself into believing that just because she seems to be better, she can't be crazy anymore. But I do want to believe that. Boy oh boy, do I ever."
"Believe that she knows something." The eerie feeling aroused by opopanax diminishes before this validation of his theory.
"Something that isn't even real clear to her," Fred says. "But do you remember? She knew Ty was gone even before I told her."
He gives Jack an anguished look and steps away. He knocks his fists together and stares at the ground. Another internal barrier topples before his need to explain his dilemma.
"Okay, look. This is what you have to understand about Judy. She's a special person. All right, a lot of guys would say their wives are special, but Judy's special in a special way. First of all, she's sort of amazingly beautiful, but that's not even what I'm talking about. And she's tremendously brave, but that's not it, either. It's like she's connected to something the rest of us can't even begin to understand. But can that be real? How crazy is that? Maybe when you're going crazy, at first you put up a big fight and get hysterical, and then you're too crazy to fight anymore and you get all calm and accepting. I have to talk to her doctor, because this is tearing me apart."
"What kinds of things does she say? Does she explain why she's so much calmer?"
Fred Marshall's eyes burn into Jack's. "Well, for one thing, Judy seems to think that Ty is still alive, and that you're the only person who can find him."
"All right," Jack says, unwilling to say more until after he can speak to Judy. "Tell me, does Judy ever mention someone she used to know — or a cousin of hers, or an old boyfriend — she thinks might have taken him?" His theory seems less convincing than it had in Henry Leyden's ultrarational, thoroughly bizarre kitchen; Fred Marshall's response weakens it further.
"Not unless he's named the Crimson King, or Gorg, or Abbalah. All I can tell you is, Judy thinks she sees something, and even though it makes no sense, I sure as hell hope it's there."
A sudden vision of the world where he found a boy's Brewers cap pierces Jack Sawyer like a steel-tipped lance. "And that's where Tyler is."
"If part of me didn't think that might just possibly be true, I'd go out of my mind right here and now," Fred says. "Unless I'm already out of my gourd."
"Let's go talk to your wife," Jack says.
From the outside, French County Lutheran Hospital resembles a nineteenth-century madhouse in the north of England: dirty red-brick walls with blackened buttresses and lancet arches, a peaked roof with finial-capped pinnacles, swollen turrets, miserly windows, and all of the long facade stippled black with ancient filth. Set within a walled parkland dense with oaks on Arden's western boundary, the enormous building, Gothic without the grandeur, looks punitive, devoid of mercy. Jack half-expects to hear the shrieking organ music from a Vincent Price movie.
They pass through a narrow, peaked wooden door and enter a reassuringly familiar lobby. A bored, uniformed man at a central desk directs visitors to the elevators; stuffed animals and sprays of flowers fill the gift shop's window; bathrobed patients tethered to I.V. poles occupy randomly placed tables with their families, and other patients perch on the chairs lined against the side walls; two white-coated doctors confer in a corner. Far overhead, two dusty, ornate chandeliers distribute a soft ocher light that momentarily seems to gild the luxurious heads of the lilies arrayed in tall vases beside the entrance of the gift shop.
"Wow, it sure looks better on the inside," Jack says.
"Most of it does," Fred says.