Robby and I could have stared at Johnny’s secret collection of things all night.
On another case was an assortment of large specimen jars.
All of them had a common etched label:
MCKEON INDUSTRIES 1969 HUMAN REPLICATION STRAND 4-VG-03
One of them contained a human head. It was a man’s head. His eyes were squinted, half open, and although they were clouded, his pupils and irises were plainly visible. He had pale blue eyes. I could even see small blood vessels in the whites of his eyes. He had a mustache. His lips were tightly pursed and frowning.
“He doesn’t look too happy,” I said.
“This has to be fake,” Robby said. “Who would keep shit like this?”
“Johnny McKeon would,” I answered. “He probably found it when the plant shut down and thought it was cool.”
“He could charge admission,” Robby said.
Another jar on the rack held a pair of human hands.
The palms were pressed together. It reminded me of the trite framed artwork depicting disembodied praying hands that hung at teenager eye level above the long urinal in the boys’ toilet at Curtis Crane Lutheran Academy.
The pictures were there to remind us what good teenage boys do with their hands.
The jar beside the hands contained a penis and testicles.
The position of the jars made an artistic statement about what happened to boys who masturbate.
“That guy probably went to Curtis Crane,” Robby said.
His voice shook with nervousness.
There is nothing more deeply frightening to a sixteen-year-old boy than confronting the possibility of losing his penis.
We had to leave, but we were mesmerized.
But the thing on that particular rack that was most compelling was the jar containing a two-headed boy. It was a whole fetus, bluish in color and clay-like, tiny but fully developed.
Robby reached up and spun the jar around, making the boy pirouette for us as he floated in the zero gravity of his vacuum jar. His little legs were bowed and folded beneath him. A knotted umbilical strand corkscrewed from his round belly. One hand, its fingers so perfect, rested opened, palm up in front of the knob of his penis. The other hand was clenched in a defiant fist beside his hip. And from the boy’s shoulders sprouted two perfect heads, one tilted to the side, resting. Both mouths were open, small black caverns that exposed the ridge of gums and the small rounded mounds of the boy’s tongues. The eyes were open and hollow. Each plum-sized head was rimmed with a floating tuft of iron-colored hair.
There was something overwhelmingly sad about the boy.
I couldn’t identify what it was.
Robby said, “This isn’t right.”
I said, “I think I know exactly what it would be like to have two heads like that.”
The last wall contained specimens of bugs. But these weren’t any bugs I’d ever seen. They also floated inside sealed rectangular glass cases filled with preserving fluid. They looked almost like aquariums with alien creatures in them.
Some of the bugs in the tanks were as big as middle-school kids.
They looked like praying mantises, or grasshoppers maybe.
The larger tanks only contained parts of bugs: heads, appendages, thoraxes.
The heads were as large as mine and Robby’s.
The tanks were also labeled:
MCKEON INDUSTRIES 1969 UNSTOPPABLE SOLDIER—STRAND 4-VG-12
“We need to get out of here,” Robby said.
I agreed.
It was too late, though. Robby and I were trapped in Johnny McKeon’s office. Somebody was outside, in the main room of the shop.
They weren’t making any attempt to be quiet, either.
BLUE LIGHT
“OH, SHIT, AUSTIN.”
“Get the light,” I whispered.
Robby flicked the switch, but Johnny McKeon’s office didn’t go dark.
The glass globe with the pulsating black shit in it wriggled and burned with a blue light. It was like writhing cobalt embers trapped inside the sphere of the glass. The thing in the sphere, whatever it was, obviously responded to light.
Hiding was our only option, but there was no place inside Johnny’s office that was very suitable. Robby pointed at the desk. We pulled Johnny’s chair out and huddled together, hugging each other in the small rectangular space below the desk.
We were just like that poor two-headed boy floating in fluid in the jar.
We didn’t even think to lock Johnny’s office door behind us.
Why would anyone have thought to do such a thing?
Because it would have been smart, I told myself.
The knob on the door squeaked and turned. There were footsteps. Someone came into the office. I put my face down on the floor and looked from under the desk. There were several sets of feet there.
Someone said, “What the crap is that?”
The shoes were positioned so whoever was inside with me and Robby was looking at the mysterious globe.
“It’s alive,” another voice concluded.
“People always said Johnny McKeon kept weird shit in here. Maybe it’s an alien or something.”
Robby’s fingers squeezed around my arm. We both knew the voice. It was Grant Wallace. He and his boys had somehow gotten into From Attic to Seller.
“Let’s take that shit,” the kid named Tyler said.
“You’re carrying it. It looks heavy,” Grant said. “I don’t want that shit. I came for the booze. Let’s go.”
The Hoover Boys apparently found their way into the back room connecting Tipsy Cricket with the secondhand store. They probably broke into the abandoned foot doctor’s office to do it.
It was a simple matter.
For all anyone knew, Grant and his boys may have been planning their theft from Tipsy Cricket for a long time. It probably had everything to do with why we ran into them in Grasshopper Jungle earlier that day.
Technically, our encounter with Grant Wallace happened the day before, since it was solidly past midnight in our time zone, which was located under the desk in Johnny McKeon’s office.
“Is that a dick?” one of the boys asked.
“It’s a dick,” another concluded.
“Johnny Mack has a dick in a bottle in his office,” Grant affirmed.
“Maybe it’s his,” one of Grant’s friends said.
“Let’s take it,” another of them said.
“I’m not touching it. It’s a jar with a dick in it.” I think Tyler said that.
“Oh yeah,” someone else said. “And balls, too.”
“That’s sick. I’m not touching it. Hang on. I’m going to take a picture of that dick in a jar with my phone,” the videographer