And I thought about the dreams, especially the culminating dream. I could do that easily, because it never faded as the more ordinary ones do. The final Sara Laughs dream and my very first wet dream (coming upon a girl lying naked in a hammock and eating a plum) are the only two that remain perfectly clear to me, year after year; the rest are either hazy fragments or completely forgotten.

There were a great many clear details to the Sara dreams—the loons, the crickets, the evening star and my wish upon it, just to name a few—but I thought most of those things were just verisimilitude. Scene-setting, if you will. As such, they could be dismissed from my considerations.

That left three major elements, three large pieces of furniture to be unwrapped.

As I sat on the beach, watching the sun go down between my sandy toes, I didn’t think you had to be a shrink to see how those three things went together.

In the Sara dreams, the major elements were the woods behind me, the house below me, and Michael Noonan himself, frozen in the middle. It’s getting dark and there’s danger in the woods. It will be frightening to go to the house below, perhaps because it’s been empty so long, but I never doubt I must go there; scary or not, it’s the only shelter I have.

Except I can’t do it. I can’t move. I’ve got writer’s walk.

In the nightmare I am finally able to go toward shelter, only the shelter proves false. Proves more dangerous than I had ever expected in my… well, yes, in my wildest dreams. My dead wife rushes out, screaming and still tangled in her shroud, to attack me. Even five weeks later and almost three thousand miles from Derry, remembering that speedy white thing with its baggy arms would make me shiver and look back over my shoulder.

But was it Johanna? I didn’t really know, did I? The thing was all wrapped up. The coffin looked like the one in which she had been buried, true, but that might just be misdirection.

Writer’s walk, writer’s block.

I can’t write, I told the voice in the dream. The voice says I can. The voice says the writer’s block is gone, and I believe it because the writer’s walk is gone, I’m finally headed down the driveway, going to shelter. I’m afraid, though. Even before the shapeless white thing makes its appearance, I’m terrified. I say it’s Mrs. Danvers I’m afraid of, but that’s just my dreaming mind getting Sara Laughs and Manderley all mixed up. I’m afraid of- “I’m afraid of writing,” I heard myself saying out loud. “I’m afraid to even try.”

This was the night before I finally flew back to Maine, and I was half-past sober, going on drunk. By the end of my vacation, I was drinking a lot of evenings. “It’s not the block that scares me, it’s undoing the block. I’m really fucked, boys and girls. I’m fucked big-time.”

Fucked or not, I had an idea I’d finally reached the heart of the matter. I was afraid of undoing the block, maybe afraid of picking up the strands of my life and going on without Jo. Yet some deep part of my mind believed I must do it; that’s what the menacing noises behind me in the woods were about. And belief counts for a lot. Too much, maybe, especially if you’re imaginative. When an imaginative person gets into mental trouble, the line between seeming and being has a way of disappearing.

Things in the woods, yes, sir. I had one of them right there in my hand as I was thinking these things. I lifted my drink, holding it toward the western sky so that the setting sun seemed to be burning in the glass. I was drinking a lot, and maybe that was okay on Key Largo hell, people were supposed to drink a lot on vacation, it was almost the law—but I’d been drinking too much even before I left. The kind of drinking that could get out of hand in no time at all. The kind that could get a man in trouble.

Things in the woods, and the potentially safe place guarded by a scary bugbear that was not my wife, but perhaps my wife’s memory. It made sense, because Sara Laughs had always been Jo’s favorite place on earth.

That thought led to another, one that made me swing my legs over the side of the chaise I’d been reclining on and sit up in excitement. Sara Laughs had also been the place where the ritual had begun. . champagne, last line, and the all-important benediction: Well, then, that’s all right, isn’t it? Did I want things to be all right again? Did I truly want that? A month or a year before I mightn’t have been sure, but now I was. The answer was yes. I wanted to move on—let go of my dead wife, rehab my heart, move on. But to do that, I’d have to go back. Back to the log house. Back to Sara Laughs. “Yeah,” I said, and my body broke out in gooseflesh. “Yeah, you got it.” So why not? The question made me feel as stupid as Ralph Roberts’s observation that I needed a vacation. if I needed to go back to Sara Laughs now that my vacation was over, indeed why not? It might be a little scary the first night or two, a hangover from my final dream, but just being there might dissolve the dream faster. And (this last thought I allowed in only one humble corner of my conscious mind) something might happen with my writing. It wasn’t likely… but it wasn’t impossible, either. Barring a miracle, hadn’t that been my thought on New Year’s Day as I sat on the rim of the tub, holding a damp washcloth to the cut on my forehead? Yes.

Barring a miracle. Sometimes blind people fall down, knock their heads, and regain their sight. Sometimes maybe cripples are able to throw their crutches away when they get to the top of the church steps. I had eight or nine months before Harold and Debra started really bugging me for the next novel. I decided to spend the time at Sara Laughs. It would take me a little while to tie things up in Derry, and awhile for Bill Dean to get the house on the lake ready for a year-round resident, but I could be down there by the Fourth of July, easily. I decided that was a good date to shoot for, not just the birthday of our country, but pretty much the end of bug season in western Maine. By the day I packed up my vacation gear (the John D. MacDonald paperbacks I left for the cabin’s next inhabitant), shaved a week’s worth of stubble off a face so tanned it no longer looked like my own to me, and flew back to Maine, I was decided: I’d go back to the place my subconscious mind had identified as shelter against the deepening dark; I’d go back even though my mind had also suggested that doing so would not be without risks. I would not go back expecting Sara to be Lourdes… but I would allow myself to hope, and when I saw the evening star peeping out over the lake for the first time, I would allow myself to wish on it.

Only one thing didn’t fit into my neat deconstruction of the Sara dreams, and because I couldn’t explain it, I tried to ignore it. I didn’t have much luck, though; part of me was still a writer, I guess, and a writer is a man who has taught his mind to misbehave. It was the cut on the back of my hand. That cut had been in all the dreams, I would swear it had… and then it had actually appeared. You didn’t get that sort of shit in the works of Dr. Freud; stuff like that was strictly for the Psychic Friends hotline. It was a coincidence, that’s all, I thought as my plane started its descent. I was in seat A-2 (the nice thing about flying up front is that if the plane goes down, you’re first to the crash site) and looking at pine forests as we slipped along the glidepath toward Bangor International Airport. The snow was gone for another year; I had vacationed it to death. Only coincidence. How many times have you cut your hands? I mean, they’re always out front, aren’t they, waving themselves around? Practically begging for it. All that should have rung true, and yet somehow it didn’t, quite. It should have, but… well… It was the boys in the basement. They were the ones who didn’t buy it. The boys in the basement didn’t buy it at all. At that point there was a thump as the 737 touched down, and I put the whole line of thought out of my mind.