Sanctuary

trying to pull it to, hearing Tommy's voice.

. . . Lee says hit wont hurt you none. All you got to do is lay down .

. ." It was a dry sort of sound, not in her consciousness at all, nor his

pale eyes beneath the shaggy thatch. She leaned in the door, wailing,

trying to shut it. Then she felt his hand clumsily on her thigh . ... .

. says hit wont hurt you none. All you got to do is . . ."

She looked at him, his diffident, hard hand on her hip. "Yes," she said,

"all right. Dont you let him in here."

"You mean fer me not to let none of them in hyer?"

"All right. I'm not scared of rats. You stay there and dont let him in."

"All right. I'll fix hit so caint nobody git to you. I'll be right hyer."

"All right. Shut the door. Dont let him in here."

"All right." He shut the door. She leaned in it, looking toward the

house. He pushed her back so he could close the door. 'Hit aint goin' to

hurt you none, Lee says. All you got to do is lay down."

"All right. I will. Dont you let him in here." The door closed. She heard

him drive the hasp to. Then he shook the door.

"Hit's fastened," he said. "Caint nobody git to you now. I'll be right

hyer."

58 WILLIAM FAULKNER

He squatted on his heels in the chaff, looking at the house. After a

while he saw Goodwin come to the back door and look toward him, and

squatting, clasping his knees, Tommy's eyes glowed again, the pale irises

appearing for an instant to spin on the pupils like tiny wheels. He

squatted there, his lip lifted a little, until Goodwin went back into the

house. Then he sighed, expelling his breath, and he looked at the blank

door of the crib and again his eyes glowed with a diffident, groping,

hungry fire and he began to rub his hands slowly on his shanks, rocking

a little from side to side. Then he ceased, became rigid, and watched

Goodwin move swiftly across the corner of the house and into the cedars.

He squatted rigid, his lip lifted a little upon his ragged teeth.

Sitting in the cottonseed-hulls, in the litter of gnawed corncobs, Temple

lifted her head suddenly toward the trap at the top of the ladder. She

heard Popeye cross the floor of the loft, then his foot appeared, groping

gingerly for the step. He descended, watching her over his shoulder.

She sat quite motionless, her mouth open a little. He stood looking at

her. He began to thrust his chin out in a series of jerks, as though his

collar were too tight. He lifted his elbows and brushed them with his

palm, and the skirt of his coat, then he crossed her field of vision,

moving without a sound, his hand in his coat pocket. He tried the door.

Then he shook it.

"Open the door," he said.

There was no sound. Then Tommy whispered: "Who's that?"

"Open the door," Popeye said. The door opened. Tommy looked at Popeye.

He blinked.

"I didn't know you was in hyer," he said. He made to look past Popeye,

into the crib. Popeye laid his hand flat on Tommy's face and thrust him

back and leaned past him and looked up at the house. Then he looked at

Tommy.

"Didn't I tell you about following me?"

"I wasn't following you," Tommy said. "I was watching him," jerking his

head toward the house.

"Watch him, then," Popeye said. Tommy turned his head and looked toward

the house and Popeye drew his hand from his coat pocket.

To Temple, sitting in the cottonseed-hulls and the corncobs, the sound

was no louder than the striking of a match: a short, minor sound shutting

down upon thp scene, the instant, with a profound finality, completely

isolating it, and she sat there, her legs straight before her, her hands

limp and palm-up on her lap, looking at Popeye's tight back and the

ridges of his coat across the shoulders as he leaned out the

SANCTUARY 59

door, the pistol behind him, against his flank, wisping thinly along his

leg.

He turned and looked at her. He waggled the pistol slightly and put it

back in his coat, then he walked toward her. Moving, he made no sound at

all; the released door yawned and clapped against the jamb, but it made

no sound either; it was as though sound and silence had become inverted.

She could bear silence in a thick rustling as he moved toward her through

it, thrusting it aside, and she began to say Something is going to happen

to me. She was saying it to the old man with the yellow clots for eyes.

"Something is happening to me!" she screamed at him, sitting in his chair

in the sunlight, his hands crossed on the top of the stick. "I told you

it was!" she screamed, voiding the words like hot silent bubbles into the

bright silence about them until he turned his head and the two

phlegm-clots above her where she lay tossing and thrashing on the rough,

sunny boards. "I told you! I told you all the time!"

x1v

WHILE SHE WAS SITTING BESIDE THE SPRING, WITH THE SLEEPing child upon her

knees, the woman discovered that she had forgot its bottle. She sat there

for about an hour after Popeye left her. Then she returned to the road and

turned back toward the house. When she was about halfway back to the

house, carrying the child in her arms, Popeye's car passed her. She heard