Song of Susannah (The Dark Tower #6)(108)

"Lady," said the cab driver, "you mind getting off on the corner of Sixtieth? Tha'be all right?"

Is it?Mia asked.What should I say?

Sure,Susannah replied absently.Sixtieth's fine.

Mia's question had called her back from her version of the Dogan, where she'd been trying to get in touch with Eddie. She'd had no luck doing that, and was appalled at the state of the place. The cracks in the floor now ran deep, and one of the ceiling panels had crashed down, bringing the fluorescent lights and several long snarls of electrical cable with it. Some of the instrument panels had gone dark. Others were seeping tendrils of smoke. The needle on the SUSANNAH-MIO dial was all the way over into the red. Below her feet, the floor was vibrating and the machinery was screaming. And saying that none of this was real, it was all only a visualization technique, kind of missed the whole point, didn't it? She'd shut down a very powerful process, and her body was paying a price. The Voice of the Dogan had warned her that what she was doing was dangerous; that it wasn't (in the words of a TV ad) nice to fool Mother Nature. Susannah had no idea which of her glands and organs were taking the biggest beating, but she knew that theywere hers. Not Mia's. It was time to call a halt to this madness before everything went sky-high.

First, though, she'd tried to get in touch with Eddie, yelling his name repeatedly into the mike with NORTH CENTRAL POSITRONICS stamped on it. Nothing. Yelling Roland's name also brought no result. If they were dead, she would have known it. She was sure of that. But not to be able to get in touch with them atall ...what did that mean?

It mean you once mo' been f**ked mos' righteous, honeychile,Detta told her, and cackled.This what you get fo' messin wit' honkies.

I can get out here?Mia was asking, shy as a girl arriving at her first dance.Really?

Susannah would have slapped her own brow, had she had one. God, when it was about anything but her baby, the bitch was so goddamtimid!

Yes, go ahead. It's only a single block, and on the avenues, the blocks are short.

The driver...how much should I give the driver?

Give him a ten and let him keep the change. Here, hold it out for me -

Susannah sensed Mia's reluctance and reacted with weary anger. This was not entirely without amusement.

Listen to me, sweetheart, I wash my hands of you. Okay? Give him any f**king bill you want.

No, no, it's all right.Humble now. Frightened.I trust you, Susannah. And she held up the remaining bills from Mats, fanned out in front of her eyes like a hand of cards.

Susannah almost refused, but what was the point? Shecame forward, took control of the brown hands holding the money, selected a ten, and gave it to the driver. "Keep the change," she said.

"Thanks, lady!"

Susannah opened the curbside door. A robot voice began to speak when she did, startling her - startling both of them. It was someone named Whoopi Goldberg, reminding her to take her bags. For Susannah-Mia, the question of her gunna was moot. There was only one piece of baggage which concerned them now, and of this Mia would soon be delivered.

She heard guitar music. At the same time she felt her control over the hand stuffing money back into her pocket and the leg swinging out of the cab begin to ebb. Mia, taking over again now that Susannah had solved another of her little New York dilemmas. Susannah began to struggle against this usurpation

(mybody, goddammit, mine,at least from the waist up, and that includes the head and the brain inside it! )

and then quit. What was the use? Mia was stronger. Susannah had no idea why that should be, but she knew that it was.

A kind of queerBushido fatalism had come over Susannah Dean by this point. It was the sort of calmness that cloaks the drivers of cars skidding helplessly toward bridge overpasses, the pilots of planes that heel over into their final dives, their engines dead...and gunslingers driven to their final cave or draw. Later she might fight, if fighting seemed either worthwhile or honorable. She would fight to save herself or the baby, but not Mia - this was her decision. Mia had forfeited any chance of rescue she might once have deserved, in Susannah's eyes.

For now there was nothing to do, except maybe to turn the LABOR FORCE dial back to 10. She thought she would be allowed that much control.

Before that, though...the music. The guitar. It was a song she knew, and knew well. She had sung a version of it to thefolken the night of their arrival in Calla Bryn Sturgis.

After all she had been through since meeting Roland, hearing "Man of Constant Sorrow" on this New York streetcorner did not strike her as coincidental in the least. And it was a wonderful song, wasn't it? Perhaps the vertex of all the folk songs she had so loved as a younger woman, the ones that had seduced her, step by step, into activism and had led her finally to Oxford, Mississippi. Those days were gone - she felt ever so much older than she had then - but this song's sad simplicity still appealed to her. The Dixie Pig was less than a block from here. Once Mia had transported them through its doors, Susannah would be in the Land of the Crimson King. She had no doubts or illusions about that. She did not expect to return from there, did not expect to see either her friends or her beloved again, and had an idea she might have to die with Mia's cheated howls for company...but none of that had to interfere with her enjoyment of this song now. Was it her death-song? If so, fine.

Susannah, daughter of Dan, reckoned there could have been far worse.

Three

The busker had set up shop in front of a café called Black-strap Molasses. His guitar case was open in front of him, its purple velvet interior (exactly the same shade as the rug in sai King's Bridgton bedroom, can you say amen) scattered with change and bills, just so any unusually innocent passersby would know the right thing to do. He was sitting on a sturdy wooden cube which looked exactly like the one upon which the Rev. Harrigan stood to preach.