Stationary Bike
written by Stephen King and narrated by Ron McLarty


III. On the Road to Herkimer


That was in the fall of 2002, a year after the Twin Towers had fallen into the streets of the Financial District, and life in New York City was returning to a slightly paranoid version of normal…except in New York, slightly paranoid was normal.

Richard Sifkitz had never felt saner or happier. His life fell into an orderly four-part harmony. In the morning he worked on whatever assignment was currently paying for his room and board, and there were more of these than ever, it seemed. The economy stank, all the newspapers said so, but for Richard Sifkitz, Freelance Commercial Artist, the economy was good.

He still ate lunch at Dugan’s on the next block, but now usually a salad instead of a greasy double cheeseburger, and in the afternoon he worked on a new picture for himself: to begin with, a more detailed version of the projection on the wall of the basement alcove. The picture of Berkowitz and his crew had been set aside and covered with an old piece of sheet. He was done with it. Now he wanted a better image of what served him well enough downstairs, which was the road to Herkimer with the work-crew gone. And why shouldn’t they be gone? Wasn’t he maintaining the road himself these days? He was, and doing a damned good job. He’d gone back to Brady in late October to have his cholesterol re-tested, and the number this time had been written in black instead of red: 179. Brady had been more than respectful; he’d actually been a little jealous.

“This is better than mine,” he said. “You really took it to heart, didn’t you?”

“I guess I did,” Sifkitz agreed.

“And that potbelly of yours is almost gone. Been working out?”

“As much as I can,” Sifkitz agreed, and said no more on the subject. By then his workouts had gotten odd. Some people would consider them odd, anyway.

“Well,” said Brady, “if you got it, flaunt it. That’s my advice.”

Sifkitz smiled at this, but it wasn’t advice he took to heart.

His evenings—the fourth part of an Ordinary Sifkitz Day—he spent either watching TV or reading a book, usually sipping a tomato juice or a V-8 instead of a beer, feeling tired but contented. He was going to bed an hour earlier, too, and the extra rest agreed with him.

The heart of his days was part three, from four until six. Those were the two hours he spent on his stationary bike, riding the blue squiggle between Poughkeepsie and Herkimer. On the plat maps, it changed from the Old Rhinebeck Road to the Cascade Falls Road to the Woods Road; for awhile, north of Penniston, it was even the Dump Road. He could remember how, back at the beginning, even fifteen minutes on the stationary bike had seemed like an eternity. Now he sometimes had to force himself to quit after two hours. He finally got an alarm clock and started setting it for six P.M. The thing’s aggressive bray was just about enough to…well…



It was just enough to wake him up.

Sifkitz found it hard to believe that he was falling asleep down in the alcove while riding the stationary bike at a steady fifteen miles per hour, but he didn’t like the alternative, which was to think that he had gone a little crazy on the road to Herkimer. Or in his SoHo basement, if you liked that better. That he was having delusions.

One night while channel-surfing, he came across a program about hypnosis on A&E. The fellow being interviewed, a hypnotist who styled himself Joe Saturn, was saying that everyone practiced self-hypnosis every day. We used it to enter a work-oriented frame of mind in the morning; we used it to help us “get into the story” when reading novels or watching movies; we used it to get to sleep at night. This last was Joe Saturn’s favorite example, and he talked at length about the patterns “successful sleepers” followed every night: checking the locks on the doors and windows, maybe, drawing a glass of water, maybe saying a little prayer or indulging in a spot of meditation. He likened these to the passes a hypnotist makes in front of his subject, and to his line of patter—counting back from ten to zero, for instance, or assuring the subject that he or she was “getting very sleepy.” Sifkitz seized on this gratefully, deciding on the spot that he was spending his daily two hours on the stationary bike in a state of light to medium hypnosis.

Because, by the third week in front of the wall-projection, he was no longer spending those two hours in the basement alcove. By the third week, he was actually spending them on the road to Herkimer.

He would pedal contentedly enough along the packed dirt track that wound through the forest, smelling the odor of pine, hearing the cries of the crows or the crackle of leaves when he rolled through occasional drifts of them. The stationary bike became the three-speed Raleigh he’d owned as a twelve-year-old in suburban Manchester, New Hampshire. By no means the only bike he’d had before getting his driver’s license at seventeen, but inarguably the best bike. The plastic cup-holder became a clumsily made but effective hand-welded ring of metal jutting over the bike-basket, and instead of Red Bull it contained a can of Lipton iced tea. Unsweetened.

On the road to Herkimer, it was always late October and just an hour before sunset. Although he rode two hours (both the alarm clock and the stationary bike’s odometer confirmed this each time he finished), the sun never changed its position; it always laid the same long shadows across the dirt road and flickered at him through the trees from the same quadrant of the sky as he traveled along with the manufactured wind of his passage blowing the hair back from his brow.

Sometimes there were signs nailed to trees where other roads crossed the one he was on. CASCADE ROAD, one said. HERKIMER, 120 MI., read another, this one pocked with old bullet-holes. The signs always corresponded to the information on the plat map currently tacked to the alcove wall. He had already decided that, once he reached Herkimer, he’d push on into the Canadian wilderness without even a stop to buy souvenirs. The road stopped there, but that was no problem; he’d already gotten a book titled Plat Maps of Eastern Canada. He would simply draw his own road on the plats, using a fine blue pencil and putting in lots of squiggles. Squiggles added miles.

He could go all the way to the Arctic Circle, if he wanted to.

One evening, after the alarm went off and startled him out of his trance, he approached the projection and looked at it for several long, considering moments, head cocked to one side. Anyone else would have seen very little; up that close the picture’s trick of forced perspective ceased working and to the untrained eye the woodland scene collapsed into nothing but blobs of color—the light brown of the road’s surface, the darker brown that was a shallow drift of leaves, the blue-and gray-streaked green of the firs, the bright yellow-white of the westering sun to the far left, perilously close to the door into the furnace-room. Sifkitz, however, still saw the picture perfectly. It was fixed firmly in his mind now and never changed. Unless he was riding, of course, but even then he was aware of an underlying sameness. Which was good. That essential sameness was a kind of touchstone, a way of assuring himself this was still no more than an elaborate mind-game, something plugged into his subconscious that he could unplug whenever he wanted.

He had brought down a box of colors for the occasional touch-up, and now, without thinking too much about it, he added several blobs of brown to the road, mixing them with black to make them darker than the drifted leaves. He stepped back, looked at the new addition, and nodded. It was a small change but in its way, perfect.

The following day, as he rode his three-speed Raleigh through the woods (he was less than sixty miles from Herkimer now and only eighty from the Canadian border), he came around a bend and there was a good-sized buck deer standing in the middle of the road, looking at him with startled dark velvet eyes. It flipped up the white flag of its tail, dropped a pile of scat, and was then off into the woods again. Sifkitz saw another flip of its tail and then the deer was gone. He rode on, giving the deer-shit a miss, not wanting it in the treads of his tires.

That night he silenced the alarm and approached the painting on the wall, wiping sweat from his forehead with a bandanna he took from the back pocket of his jeans. He looked at the projection critically, hands on hips. Then, moving with his usual confident speed—he’d been doing this sort of work for almost twenty years, after all—he painted the scat out of the picture, replacing it with a clutch of rusty beer cans undoubtedly left by some upstate hunter in search of pheasant or turkey.

“You missed those, Berkowitz,” he said that night as he sat drinking a beer instead of a V-8 juice. “I’ll pick ’em up myself tomorrow, but don’t let it happen again.”

Except when he went down the next day, there was no need to paint the beer cans out of the picture; they were already gone. For a moment he felt real fright prod his belly like a blunt stick—what had he done, sleepwalked down here in the middle of the night, picked up his trusty can of turp and a brush?—and then put it out of his mind. He mounted the stationary bike and was soon riding his old Raleigh, smelling the clean smells of the forest, relishing the way the wind blew his hair back from his forehead. And yet wasn’t that the day things began to change? The day he sensed he might not be alone on the road to Herkimer? One thing was beyond doubt: it was the day after the disappearing beer cans that he had the really terrible dream and then drew the picture of Carlos’s garage.

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