Tl:dr Stamp

Here's a another tl;dr stamp. I know something like this was done before. I was bored so I made this.

Experience the tl'dr effect at its fullest.

"I'd like some different paper, if you could get it," he said when she came back to put the typewriter and paper on the board. "Different from this?" she asked, tapping the cellophane-wrapped package of Corrasable Bond. "But this is the most expensive of all! I asked when I went into the Paper Patch!" "Didn't your mother ever tell you that the most expensive is not always the best?" Annie's brow darkened. Her initial defensiveness had been replaced by indignation. Paul guessed her fury would follow. "No, she did not. What she told me, Mister Smart Guy, is that when you buy cheap, you get cheap." The climate inside her, he had come to discover, was like springtime in the Midwest. She was a woman full of tornadoes waiting to happen, and if he had been a farmer observing a sky which looked the way Annie's face looked right now, he would have at once gone to collect his family and herd them into the storm cellar. Her brow was too white. Her nostrils flared regularly, like the nostrils of an animal scenting fire. Her hands had begun to spring limberly open and then snatch closed again, catching air and squashing it. His need for her and his vulnerability to her screamed at him to back off, to placate her while there was still time if indeed there still was - as a tribe in one of -those Rider Haggard stories would have placated their goddess when she was angry, by making sacrifice to her effigy. But there was another part of him, more calculating and less cowed, which reminded him that he could not play the part of Scheherazade if he grew frightened and placatory whenever she stormed. If he did, she would storm all the more. If you didn't have something she badly wants, this part of him reasoned, she would have taken you to the hospital right away or killed you later on to protect herself from the Roydmans - because for Annie the world is full of Roydmans, for Annie they're lurking behind every bush. And if you don't bell this bitch right now, Paulie my boy, you may never be able to. She was beginning to breathe more rapidly, almost to hyperventilate; the rhythm of her clenching hands was likewise speeding up, and he knew that in a moment she would be beyond him. Gathering up the little courage he had left, trying desperately to summon exactly the right note of sharp and yet almost casual irritability, he said: "And you might as well stop that. Getting mad won't change a thing." She froze as if he had slapped her and looked at him, wounded. "Annie," he said patiently, "this is no big deal." "It's a trick," she said. "You don't want to write my book and so you're making up tricks not to start. I knew you would. Oh boy. But it's not going to work. It - " "That's silly," he said. "Did I say I wasn't going to start?" "No . . . no, but - " "That's right. Because I am. And if you come here and take a look at something, I'll show you what the problem is. Bring that Webster Pot with you, please." "The what?" "Little jar of pens and pencils, " he said. "On newspapers, they sometimes call them Webster Pots. After Daniel Webster." This was a lie he had made up on the spur of the moment, but it had the desired effect - she looked more confused than ever, lost in a specialists" world of which she had not the slightest knowledge. The confusion had diffused (and thus defused) her rage even more; he saw she now didn't even know if she had any right to be angry. She brought over the jar of pens and pencils and slammed them down on the board and he thought: Goddam! I won No - that wasn't right. Misery had won. But that isn't right, either. It was Scheherazade. Scheherazade won. "What?" she said grumpily. "Watch." He opened the package of Corrasable and took out a sheet He took a freshly sharpened pencil and drew a fine on the paper. Then he took a ballpoint pen and drew another line parallel to the first. Then he slid his thumb across the slightly waffled surface of the paper. Both lines blurred smudgily in the direction his thumb was travelling, the pencil-line slightly more than the one he had drawn with the pen. "See?" "So what?" "Ribbon-ink will blur, too," he said. "It doesn't blur a much as that pencil-line, but it's worse than the ballpoint-ink line." "Were you going to sit and rub every page with your thumb?" "Just the shift of the pages against each other will accomplish plenty of blurring over a period of weeks or ever days," he said, "and when a manuscript is in work, it get shifted around a lot. You're always hunting back through to find a name or a date. My God, Annie, one of the first thing you find out in this business is that editors hate reading manuscripts typed on Corrasable Bond almost as much a they hate hand-written manuscripts." "Don't call it that. I hate it when you call it that." He looked at her, honestly puzzled. "Call what what?" "When you pervert the talent God gave you by calling it a business. I hate that." "I'm sorry." "You ought to be," she said stonily. "You might as well call yourself a whore." No, Annie, he thought, suddenly filled with fury. I'm no whore. Fast Cars was about not being a whore. That's what killing that goddamned bitch Misery was about, now that I think about it. I was driving to the West Coast to celebrate my liberation from a state of whoredom. What you did was to pull me out of the wreck when I crashed my car and stick me back in the crib again. Two dollar straight up, four dollar I take you around the world. And every now and then I see a flicker in your eyes that tells me a part of you way back inside knows it too. A jury might let you off by reason of insanity, but not me, Annie. Not this kid. "A good point," he said. "Now, going back to the subject of the paper - " "I'll get you your cockadoodie paper," she said sullenly. "Just tell me what to get and I'll get it." "As long as you understand I'm on your side - " "Don't make me laugh. No one has been on my side since my mother died twenty years ago." "Believe what you want, then," he said. "If you're so insecure you can't believe I'm grateful to you for saving my life, that's your problem." He was watching her shrewdly, and again saw a flicker of uncertainty, of wanting to believe, in her eyes. Good. Very good. He looked at her with all the sincerity he could muster, and again in his mind he imagined shoving a chunk of glass into her throat, once and forever letting out the blood that serviced her crazy brain. "At least you should be able to believe that I am on the book's side. You spoke of binding it. I assume that you meant binding the manuscript? The typed pages?" "Of course that's what I meant." Yes, you bet. Because if you took the manuscript to a printer, it might raise questions. You may be naive about the world of books and publishing, but not that naive. Paul Sheldon is missing, and your printer might remember receiving a book-length manuscript concerning itself with Paul Sheldon's most famous character right around the time the man himself disappeared, mightn't he? And he'd certainly remember the instructions - instructions so queer any printer would remember them. One printed copy of a novel-length manuscript. Just one. "What did she look like, officer? Well, she was a big woman. Looked sort of like a stone idol in a H. Rider Haggard story. Just a minute, I've got her name and address here in the files . . . Just let me look up the carbons of the invoices . . . " "Nothing wrong with the idea, either," he said. "A bound manuscript can be damned handsome. Looks like a good folio edition. But a book should last a long time, Annie, and if I write this one on Corrasable, you're going to have nothing but a bunch of blank papers in ten years or so. Unless, of course, you just put it on the shelf." But she wouldn't want that, would she? Christ, no. She'd want to take it down every day, maybe every few hours. Take it down and gloat over it. An odd stony look had come onto her face. He did not like this mulishness, this almost ostentatious look of obduracy. It made him nervous. He could calculate her rage, but there was something in this new expression which was as opaque as it was childish. "You don't have to talk anymore," she said. "I already told you I'll get you your paper. What kind?" "In this business-supply store you go to - " "The Paper Patch." "Yes, the Paper Patch. You tell them you'd like two reams - a ream is a package of five hundred sheets - " "I know that. I'm not stupid, Paul." "I know you're not," he said, becoming more nervous still. The pain had begun to mutter up and down his legs again, and it was speaking even more -loudly from the area of his pelvis - he had been sitting up for nearly an hour, and the dislocation down there was complaining about it. Keep cool, for God's sake - don't lose everything you've gained! But have I gained anything? Or is it only wishful thinking? "Ask for two reams of white long-grain mimeo. Hammermill Bond is a good brand; so is Triad Modem. Two reams of mimeo will cost less than this one package of Corrasable, and it should be enough to do the whole job, write and rewrite." "I'll go right now," she said, getting up suddenly. He looked at her, alarmed, understanding that she meant to leave him without his medication again, and sitting up this time, as well. Sitting already hurt; the pain would be monstrous by the time she got back, even if she hurried. "You don't have to do that," he said, speaking fast. "The Corrasable is good enough to start with - after all, I'll have to rewrite anyway - " "Only a silly person would try to start a good work with a bad tool." She took the package of Corrasable Bond, then snatched the sheet with the two smudged lines and crumpled it into a ball. She tossed both into the wastebasket and turned back to him. That stony, obdurate look covered her face like a mask. Her eyes glittered like tarnished dimes. "I'm going to town now," she said. "I know you want to get started as soon as you can, since you're on my side - " she spoke these last words with intense, smoking sarcasm (and, Paul believed, more self-hate than she would ever know) "and so I'm not even going to take time to put you back in your bed." She smiled, a pulling of the lips that was grotesquely puppet-like, and slipped to his side in her silent white nurse" shoes. Her fingers touched his hair. He flinched. He tried not to but couldn't help it. Her dead-alive smile widened. "Although I suspect we may have to put off the actual start of Misery's Retum for a day . . . or two . . . perhaps even three. Yes, it may be as long as three days before you are able to sit up again. Because of the pain. Too bad. I had champagne chilling in the fridge. I'll have to put it back in the shed." "Annie, really, I can start if you'll just - " "No, Paul." She moved to the door and then turned, looking at him with that stony face. Only her eyes, those tarnished dimes, were fully alive under the shelf of her brow. "There is one thought I would like to leave you with. You may think you can fool me, or trick me; I know I look slow and stupid. But I am not stupid, Paul, and I am not slow." Suddenly her face broke apart. The stony obduracy shattered and what shone through was the countenance of an insanely angry child. For a moment Paul thought the extremity of his terror might kill him. Had he thought he had gained the upper hand? Had he? Could one possibly play Scheherazade when one's captor was insane? She rushed across the room at him, thick legs pumping, knees flexing, elbows chopping back and forth in the stale sickroom air like pistons. Her hair bounced and joggled around her face as it came loose from the bobby-pins that held it up. Now her passage was not silent; it was like the tread of Goliath striding into the Valley of Bones. The picture of the Arc de Triomphe cracked affrightedly on the wall. "Geeeee-yahhh!" she screamed, and brought her fist down on the bunched salt-dome that had been Paul Sheldon's left knee. He threw his head back and howled, veins standing out in his neck and on his forehead. Pain burst out from his knee and shrouded him, whitely radiant, in the center of a nova. She tore the typewriter off the board and slammed it down on the mantel, lifting its weight of dead metal as he might have lifted an empty cardboard box. "So you just sit there," she said, lips pulled back in that grinning rictus, "and you think about who is in charge here, and all the things I can do to hurt you if you behave badly or try to trick me. You sit there and you scream if you want to, because no one can hear you. No one stops here because they all know Annie Wilkes is crazy, they all know what she did, even if they did find me innocent." She walked back to the door and turned again, and he screamed again when she did, in anticipation of another bull-like charge, and that made her grin more widely. "I'll tell you something else," she said softly. "They think I got away with it, and they are right. Think about that, Paul, while I'm in town getting your cockadoodie paper." She left, slamming the bedroom door hard enough to shake the house. Then there was the click of the lock. He leaned back in the chair, shaking all over, trying not to shake because it hurt, not able to help it. Tears streamed down his cheeks. Again and again he saw her flying across the room, again and again he saw her bringing her fist down on the remains of his knee with all the force of an angry drunk hammering on an oak bar, again and again he was swallowed in that terrible blue-white nova of pain. "Please, God, please," he moaned as the Cherokee started outside with a bang and a roar. "Please, God, please - let me out of this or kill me . . . let me out of this or kill me." The roar of the engine faded off down the road and God did neither and he was left with his tears and the pain, which was now fully awake and raving through his body.He thought later that the world, in its unfailing perversity, would probably construe those things which he did next as acts of heroism. And he would probably let them - but in fact what he did was nothing more than a final staggering grab for self-preservation. Dimly he seemed to hear some madly enthusiastic sportscaster - Howard Cosell or Warner Wolf or perhaps that all-time crazy Johnny Most - describing the scene, as if his effort to get at her drug supply before the pain killed him was some strange sporting event - a trial substitution for Monday Night Football, perhaps. What would you call a sport like that, anyway? Run for the Dope? "I just cannot believe the guts this Sheldon kid is displaying today! the sportscaster in Paul Sheldon's head was enthusing. "I don't believe anyone in Annie Wilkes Stadium - or in the home viewing audience, for that matter - thought he had the sly-test chance of getting that wheelchair moving after the blow he took, but I believe . . . yes, it is! It's moving! Let's look at the replay!" Sweat ran down his forehead and stung his eyes. He licked a mixture of salt and tears off his lips. The shuddering would not stop. The pain was like the end of the world. He thought: There comes a point when the very discussion of pain becomes redundant. No one knows there is pain the size of this in the world. No one. It is like being possessed by demons. It was only the thought of the pills, the Novril that she kept somewhere in the house, which got him moving. The locked bedroom door . . . the possibility the dope might not be in the downstairs bathroom as he had surmised but hidden somewhere . . . the chance she might come back and catch him . . . these things mattered not at all, these things were only shadows behind the pain. He would deal with each problem as it came up or he would die. That was all. Moving caused the band of fire below his waist and in his legs to sink in deeper, cinching his legs like belts studded with hot, inward-pointing spikes. But the chair did move. Very slowly the chair began to move. He had managed about four feet before realizing he was going to do nothing more useful than roll the wheelchair past the door and into the far comer unless he could turn it. He grasped the right wheel, shuddering, (think of the pills, think of the relief of the pills) and bore down on it as hard as he could. Rubber squeaked minutely on the wooden floor, the cries of mice. He bore down, once strong and now flabby muscles quivering like jelly, lips peeling back from his gritted teeth, and the wheelchair slowly pivoted. He grasped both wheels and got the chair moving again. This time he rolled five feet before stopping to straighten himself out. Once he'd done it, he grayed out. He swam back to reality five minutes later, hearing the dim, goading voice of that sportscaster in his head: "He's trying to get going again! I just cannot be-leeve the guts of this Sheldon kid!" The front of his mind only knew about the pain; it was the back that directed his eyes. He saw it near the door and rolled over to it. He reached down, but the tips of his fingers stopped a clear three inches short of the floor, where one of the two or three bobby-pins that had fallen from her hair as she charged him lay. He bit his lip, unaware of the sweat running down his face and neck and darkening his pajama shirt. "I don't think he can get that pin, folks - it's been a fan-tas-tic effort, but I'm afraid this is where it all ends." Well, maybe not. He let himself slouch to the right in the wheelchair, at first trying to ignore the pain in his right side - pain that felt like an increasing bubble of pressure, something similar to a tooth impaction - and then giving way and screaming. As she said, there was no one to hear him anyway. The tips of his fingers still hung an inch from the floor, brushing back and forth just above the bobby-pin, and his right hip really felt as if it might simply explode outward in a squirt of some vile white bone-jelly. Oh God please please help me - He slumped farther in spite of the pain. His fingers brushed the pin but succeeded only in pushing it a quarter of an inch away. Paul slid down in the chair, still slumped to the right, and screamed again at the pain in his lower legs. His eyes were bulging, his mouth was open, his tongue straight down between his teeth like the pull on a window-shade. Little drops of spittle ran from its tip and spatted on the floor. He pinched the bobby-pin between his fingers . . . tweezed it . . . almost lost it . . . and then it was locked in his fist. Straightening up brought a fresh slough of pain, and when the act was accomplished he could do no more than sit and pant for awhile, his head tilted as far as the unc Compromising back of the wheelchair would allow, the bobby-pin lying on the board across the chair's arms. For awhile he was quite sure he was going to puke, but that passed. What are you doing? part of his mind scolded wearily after awhile. Are you waiting for the pain to go away? It won't. She's always quoting her mother, but your own mother had a few sayings, too, didn't she? Yes. She had. Sitting there, head thrown back, face shiny with sweat, hair plastered to his forehead, Paul spoke one of them aloud now, almost as an incantation: "There may be fairies, there may be elves, but God helps those who help themselves." Yeah. So stop waiting, Paulie - the only elf that's going to show up here is that all-time heavyweight, Annie Wilkes. He got moving again, rolling the wheelchair slowly across to the door. She had locked it, but he believed he might be able to unlock it. Tony Bonasaro, who was now only so many blackened flakes of ash, had been a car-thief. As part of his preparation for writing Fast Cars, Paul had studied the mechanics of car-thievery with a tough old ex-cop named Tom Twyford. Tom had shown him how to hot-wire an ignition, how to use the thin and limber strip of metal car-thieves called Slim Jims to yank the lock on a car door, how to short out a car burglar alarm. Or, Tom had said on a spring day in New York some two and a half years ago, let's say you don't want to steal a car at all. You got a car, but you're a little low on gas. You got a hose, but the car you pick for the free donation has got a locking gas-cap. Is this a problem? Not if you know what you're doing, because most gas-cap locks are strictly Mickey Mouse. All you really need is a bobby-pin. It took Paul five endless minutes of backing and filling to get the wheelchair exactly where he wanted it, with the left wheel almost touching the door. The keyhole was the old-fashioned sort, reminding Paul of John Tenniel's Alice in Wonderland drawings, set in the middle of a tarnished keyplate. He slid down a bit in the wheelchair - giving out a single barking groan - and looked through it. He could see a short hallway leading down to what was clearly the parlor: a dark-red rug on the floor, an old-fashioned divan upholstered in similar material, a lamp with tassels hanging from its shade. To his left, halfway down the hallway, was a door which stood ajar. Paul's pulsebeat quickened. That was almost surely the downstairs bathroom - he had heard her running enough water in there (including the time she had filled the floor-bucket from which he had enthusiastically drunk), and wasn't it also the place she always came from before giving him his medicine? He thought it was. He grasped the bobby-pin. It spilled out of his fingers onto the board and then skittered toward the edge. "No!" he cried hoarsely, and clapped a hand over it just before it could fall. He clasped it in one fist and then grayed out again. Although he had no way of telling for sure, he thought he was out longer this second time. The pain - except for the excruciating agony of his left knee - seemed to have abated a tiny bit. The bobby-pin was on the board across the arms of the wheelchair. This time he flexed the fingers of his right hand several times before picking it up. Now, he thought, unbending it and holding it in his right hand. You will not shake. Hold that thought. YOU WILL NOT SHAKE. He reached across his body with the pin and slipped it into the keyhole, listening as the sportscaster in his mind (so vivid!) described the action. Sweat ran steadily down his face like oil. He listened . . . but even more, he felt. The tumbler in a cheap lock is nothing but a rocker, Tom Twyford had said, seesawing his hand to demonstrate. You want to turn a rocking chair over? Easiest thing in the world, tight? Just grab the rockers and flip the mother right over . . . nothing to it. And that's all you got to do with a lock like this. Slide the tumbler up and then open the gas-cap quick, before it can snap back. He had the tumbler twice, but both times the bobby-pin slipped off and the tumbler snapped back before he could do more than begin to move it. The bobby-pin was starting to bend. He thought that it would break after another two or three tries. "Please God," he said, sliding it in again. "Please God, what do you say? Just a little break for the kid, that's all I'm asking." ("Folks, Sheldon has performed heroically today, but this has got to be his last shot. The crowd has fallen silent . . .") He closed his eyes, the sportscaster's voice fading as he listened avidly to the minute rattle of the pin in the lock. Now! Here was resistance! The tumbler! He could see it lying in there like the curved foot of a rocking chair, pressing the tongue of the lock, holding it in place, holding him in place. It's strictly Mickey Mouse, Paul. Just stay cool. When you hurt this badly, it was hard to stay cool. He grasped the doorknob with his left hand, reaching under his right arm to do it, and began to apply gentle pressure to the bobby-pin. A little more . . . a little more . . . In his mind he could see the rocker beginning to move in its dusty little alcove; he could see the lock's tongue begin to retract. No need for it to go all the way, good God, no - no need to overturn the rocking chair, to use Tom Twyford's metaphor. Just the instant it cleared the doorframe - a push - The pin was simultaneously starting to bend and slip. He felt it happening, and in desperation he pushed upward as hard as he could, turned the knob, and shoved at the door. There was a snap as the pin broke in two, the part in the lock falling in, and he had a dull moment to consider his failure before he saw that the door was slowly swinging open with the tongue of the lock sticking out of the plate like a steel finger. "Jesus," he whispered. "Jesus, thank you." Let's go to the videotape! Warner Wolf screamed exultantly in his mind as the thousands in Annie Wilkes Stadium - not to mention the untold millions watching at home - broke into thunderous cheers. "Not now, Warner," he croaked, and began the long, draining job of backing and filling the wheelchair so he could get a straight shot at the door.He jerked, expecting the shotgun blast. But she wasn't there, of course; his mind had already recognized the dream. Not a dream - a warning. She could come back anytime. Anytime at all. The quality of the light fanning through the half-open bathroom door had changed, grown brighter. It looked like moonlight. He wished the clock would chime and tell him just how close to right he was, but the clock was obstinately silent. She stayed away fifty hours before. So she did. And she might stay away eighty this time. Or you might hear that Cherokee pulling in five seconds from now. In case you didn't know it, friend, the Weather Bureau can post tornado warnings, but when it comes to telling exactly when and where they'll touch down, they don't know fuck-all. "True enough," he said, and rolled the wheelchair down to the bathroom. Looking in, he saw an austere room floored with hexagonal white tiles. A bathtub with rusty fans spreading below the faucets stood on clawed feet. Beside it was a linen closet. Across from the tub was a sink. Over the sink was a medicine cabinet. The floor-bucket was in the tub - he could see its plastic top. The hall was wide enough for him to swing the chair around and face the door, but now his arms were trembling with exhaustion. He had been a puny kid and so he had tried to take reasonably good care of himself as an adult, but his muscles were now the muscles of an invalid and the puny kid was back, as if all that time spent doing laps and jogging and working out on the Nautilus machine had only been a dream. At least this doorway was wider - not much, but enough to make his passage less hair-raising. Paul bumped over the lintel, and then the chair's hard rubber wheels rolled smoothly over the tiles. He smelled something sour that he automatically associated with hospitals - Lysol, maybe. There was no toilet in here, but he had already suspected that - the only flushing sounds came from upstairs, and now that he thought of it, one of those upstairs flushes always followed his use of the bedpan. Here there was only the tub, the basin, and the linen closet with its door standing open. He gazed briefly at the neat piles of blue towels and washcloths - he was familiar with both from the sponge-baths she had given him - and then turned his attention to the medicine cabinet over the washstand. It was out of reach. No matter how much he strained, it was a good nine inches above the tips of his fingers. He could see this but reached anyway, unable to believe Fate or God or Whoever could be so cruel. He looked like an outfielder reaching desperately for a home-run ball he had absolutely no chance of catching. Paul made a wounded, baffled noise, lowered his hand, and then leaned back, panting. The gray cloud lowered. He willed it away and looked around for something he could use to open the medicine cabinet's door and saw an O-Cedar mop leaning stiffly in the corner on a long blue pole. You going to use that? Really? Well, I guess you could. Pry open the medicine cabinet door and then just knock a bunch of stuff out into the basin. But the bottles will break and even if there are no bottles, fat chance, everyone has at least a bottle of Listerine or Scope or something in their medicine cabinet, you have no way of putting back what you knock down. So when she comes back and sees the mess, what then? "I'll tell her it was Misery," he croaked. "I'll tell her she dropped by looking for a tonic to bring her back from the dead." Then he burst into tears . . . but even through the tears his eyes were conning the room, looking for something, anything, inspiration, a break, just a fucking br - He was looking into the linen closet again, and his rapid breath suddenly stopped. His eyes widened. His first cursory glance had taken in the shelves with their stacks of folded sheets and pillow-cases and washcloths and towels. Now he looked at the floor and on the floor were a number of square cardboard cartons. Some were labelled UPJOHN. Some were labelled LILY. Some were labelled CAM PHARMACEUTICALS. He turned the wheelchair roughly, hurting himself, not caring. Please God don't let it be her cache of extra shampoo or her tampons or pictures of her dear old sainted mother or - He fumbled for one of the boxes, dragged it out, and opened the flaps. No shampoo, no Avon samples. Far from it. There was a wild jumble of drugs in the carton, most of them in small boxes marked SAMPLES. At the bottom a few pills and capsules, different colors, rolled around loose. Some, like Motrim and Lopressor, the hypertension drug his father had taken during the last three years of his life, he knew. Others he had never heard of. "Novril," he muttered, raking wildly through the box while sweat ran down his face and his legs pounded and throbbed. "Novril, where's the fucking Novril?" No Novril. He pushed the flaps of the carton closed and shoved it back into the linen closet, making only a token effort to replace it in the same place it had been. Should be all right, the place looked like a goddam junk-heap - Leaning far to his left, he was able to snag a second carton. He opened it and was hardly able to credit what he was seeing. Darvon. Darvocet. Darvon Compound. Morphose and Morphose Complex. Librium. Valium. And Novril. Dozens and dozens and dozens of sample boxes. Lovely boxes. Dear boxes. O lovely dear sainted boxes. He clawed one open and saw - the capsules she gave him every six hours, enclosed in their little blisters. NOT TO BE DISPENSED WITHOUT PHYSICIAN'S PRESCRIPTION, the box said. "Oh dear Jesus, the doctor is in!" Paul sobbed. He tore the cellophane apart with his teeth and chewed up three of the capsules, barely aware of the bruisingly bitter taste. He halted, stared at the five that were left encased in their mutilated cellophane sheet, and gobbled a fourth. He looked around quickly, chin down on his breastbone, eyes crafty and frightened. Although he knew it was too soon to be feeling any relief, he did feel it - having the pills, it seemed, was even more important than taking the pills. It was as if he had been given control of the moon and the tides - or had just reached up and taken it. It was a huge thought, awesome . . . and yet also frightening, with undertones of guilt and blasphemy. If she comes back now - "All right - okay. I get the message." He looked into the carton, trying to calculate how many of the sample boxes he might be able to take without her realizing a little mouse named Paul Sheldon had been nibbling away at the supply. He giggled at this, a shrill, relieved sound, and he realized the medication wasn't just working on his legs. He had gotten his fix, if you wanted to be perfectly vulgar about it. Get moving, idiot. You have no time to enjoy being stoned. He took five of the boxes - a total of thirty capsules. He had to restrain himself from taking more. He stirred the remaining boxes and bottles around, hoping the result would look no more or less helter-skelter than it had when he first peered into the box. He refolded the flaps and slipped the box back into the linen closet. A car was coming. He straightened up, eyes wide. His hands dropped to the arms of the wheelchair and gripped them with panicky tightness. If it was Annie, he was screwed and that was the end of it. He would never be able to maneuver this balky, oversized thing back to the bedroom in time. Maybe he could whack her once with the O-Cedar mop or something before she wrung his neck like a chicken. He sat in the wheelchair with the sample boxes of Novril in his lap and his broken legs stuck stiffly out in front of him and waited for the car to pass or turn in. The sound swelled endlessly . . . then began to diminish. Okay. Do you need a more graphic warning, Paul-baby? As a matter of fact, he did not. He took a final glance at the cartons. They looked to him about as they had when he had first seen them - although he had been looking at them through a haze of pain and could not be completely sure but he knew that the piles of boxes might not be as random as they had looked, oh, not at all. She had the heightened awareness of the deep neurotic, and might have had the position of each box carefully memorized. She might take one casual glance in here and immediately realize in some arcane way what had happened. This knowledge did not bring fear but a sense of resignation - he had needed the medication, and he had somehow managed to escape his room and get it. If there were consequences, punishment, he could face them with at least the understanding that he could have done nothing but what he had done. And of all she had done to him, this resignation was surely a symptom of the worst - she had turned him into a pain-racked animal with no moral options at all. He slowly backed the wheelchair across the bathroom, glancing behind himself occasionally to make sure he wasn't wandering off-course. Before, such a movement would have made him scream with pain, but now the pain was disappearing under a beautiful glassiness. He rolled into the hall and then stopped as a terrible thought struck him: if the bathroom floor had been slightly damp, or even a bit dirty - He stared at it, and for a moment the idea that he must have left tracks on those clean white tiles was so persuasive that he actually saw them. He shook his head and looked again. No tracks. But the door was open farther than it had been. He rolled forward, swung the wheelchair slightly to the right so he could lean over and grab the knob, and pulled the door half-closed. He eyed it, then pulled it a bit closer to the jamb. There. That looked right. He was reaching for the wheels, meaning to pivot the chair so he could roll back to his room, when he realized he was pointed more or less toward the living room, and the living room was where most people kept their telephone and - Light bursting in his mind like a flare over a foggy meadow. "Hello, Sidewinder Police Station, Officer Humbuggy speaking." "Listen to me, Officer Humbuggy. Listen very carefully and don't interrupt, because I don't know how much time I have. My name is Paul Sheldon. I'm calling you from Annie Wilkes's house. I've been her prisoner here for at least two weeks, maybe as long as a month. I - " "Annie Wilkes!" "Get out here tight away. Send an ambulance. And for Christ's sake get here before she gets back . "Before she gets back," Paul moaned. "Oh yeah " Far out." What makes you think she even has a phone? Who have you ever heard her call? Who would she call? Her good friends the Roydmans? Just because she doesn't have anyone to chatter with all day doesn't mean she is incapable of understanding that accidents can happen; she could fall downstairs and break an arm or a leg, the barn might catch on fire - How many times have you heard this supposed telephone ring? So now there's a requirement? Your phone has to ring at least once a day or Mountain Bell comes and takes it out? Besides, I haven't even been conscious most of the time. You're pushing your luck. You're pushing your luck and you know it. Yes. He knew it, but the thought of that telephone, the imagined sensation of the cool black plastic under his fingers, the click of the rotary dial or the single booping sound as he touch-toned 0 - these were seductions too great to resist. He worked the wheelchair around until it was directly facing the parlor, and then he rolled down to it. The place smelled musty, unaired, obscurely tired. Although the curtains guarding the bow windows were only half-drawn, affording a lovely view of the mountains, the room seemed too dark - because its colors were too dark, he thought. Dark red predominated, as if someone had spilled a great deal of venous blood in here. Over the mantel was a tinted photograph portrait of a forbidding woman with tiny eyes buried in a fleshy face. The rosebud mouth was pursed. The photograph, enclosed in a rococo frame of gold gilt, was the size of the President's photograph in the lobby of a big-city post office. Paul did not need a notarised statement telegram to tell him that this was Annie's sainted mother. He rolled farther into the room. The left side of the wheelchair struck a small occasional table covered with ceramic gewgaws. They chattered together and one of them - a ceramic penguin sitting on a ceramic ice-block - fell off the side. Without thinking, he reached out and grabbed it. The gesture was almost casual . . . and then reaction set in. He held the penguin tightly in his curled fist, trying to will the shakes away. You caught it, no sweat, besides, there's a rug on the floor, probably wouldn't have broken anyway - But if it HAD! his mind screamed back. If it HAD! Please, you have to go back to your room before you leave something . . . a track . . . No. Not yet. Not yet, no matter how frightened he was. Because this had cost him too much. If there was a payoff, he was going to have it. He looked around the room, which was stuffed with heavy graceless furniture. It should have been dominated by the bow windows and the gorgeous view of the Rockies beyond them but was instead dominated by the picture of that fleshy woman imprisoned in the ghastly glaring frame with its twists and curlicues and frozen gilded swags. On a table at the far end of the couch, where she would sit to watch TV, was a plain dialer telephone. Gently, hardly daring to breathe, he put the ceramic penguin (NOW MY TALE IS TOLD! the legend on the block of ice read) back on the knickknack table and rolled across the room toward the phone. There was an occasional table in front of the sofa; he gave it a wide berth. On it was a spray of dried flowers in an ugly green vase, and the whole thing looked topheavy, ready to tip over if he so much as brushed it. No cars coming outside - only the sound of the wind. He grasped the handset of the phone in one hand and slowly picked it up. A queer predestinate sense of failure filled his mind even before he got the handset to his ear and heard the nothing. He replaced the receiver slowly, a line from an old Roger Miller song occurring to him and seeming to make a certain senseless sense: No phone, no pool, no pets . . . I ain't got no cigarettes. . . He traced the phone cord with his eye, saw the small square module on the baseboard, saw that the jack was plugged into it. Everything looked in perfect working order. Like the barn, with its heat-tapes. Keeping up appearances is very, very important. He closed his eyes and saw Annie removing the jack and squeezing Elmer's Glue into the hole in the module. Saw her replacing the jack in the dead-white glue, where it would harden and freeze forever. The phone company would have no idea that anything was wrong unless someone attempted to call her and reported the line out of service, but no one called Annie, did they? She would receive regular monthly bills on her dead line and she would pay them promptly, but the phone was only stage dressing, part of her never-ending battle to keep up appearances, like the neat barn with its fresh red paint and cream trim and heat-tapes to melt the winter ice. Had she castrated the phone in case of just such an expedition as this? Had she foreseen the possibility that he might get out of the room? He doubted it. The phone - the working phone - would have gotten on her nerves long before he came. She would have lain awake at night, looking up at the ceiling of her bedroom, listening to the high-country whine of the wind, imagining the people who must be thinking of her with either dislike or outright malevolence - all the world's Roydmans - people who might, any of them, at any time, take a notion to call her on the telephone and scream: You did it, Annie! They took you all the way to Denver, and we know you did it! They don't take you all the way to Denver if you're innocent! She would have asked for and gotten an unlisted number, of course - anyone tried for and acquitted of some major crime (and if it had been Denver, it had been major) would have done that - but even an unlisted number would not comfort a deep neurotic like Annie Wilkes for long. They were all in league against her, they could get the number if they wanted, probably the lawyers who had been against her would be glad to pass it out to anyone who asked for it, and people would ask, oh yes - for she would see the world as a dark place full of moving human masses like seas, a malevolent universe surrounding a single small stage upon which a single savagely bright pinspot illuminated . . . only her. So best to eradicate the phone, silence it, as she would silence him if she knew he had gotten even this far. Panic burst shrilly up in his mind, telling him that he had to get out of here and back into his room, hide the pills somewhere, return to his place by the window so that when she returned she would see no difference, no difference at all, and this time he agreed with the voice. He agreed wholeheartedly. He backed carefully away from the phone, and when he gained the room's one reasonably clear area, he began the laborious job of turning the wheelchair around, careful not to bump the occasional table as he did so. He had nearly finished the turn when he heard an approaching car and knew, simply knew it was her, returning from town.

If you can read this all through then I don't know...you deserve a medal or something.

Who needs character limits?

_{By the way tl;dr stands for Too long;didn't read}