Part 16 (1/2)
That night when I followed her she picked a spot under a street lamp, opposite one of the Munsch Girl billboards.
Now it frightens me to think of her lurking that way.
After about twenty minutes a convertible slowed down going past her, backed up, swung in to the kerb.
I was closer this time. I got a good look at the fellow's face. He was a little younger, about my age.
Next morning the same face looked up at me from the front page of the paper. The convertible had been found parked on a side street. He had been in it. As in the other maybe-murders, the cause of death was uncertain.
All kinds of thoughts were spinning in my head that day, but there were only two things I knew for sure. That I'd got the first real offer from a national advertiser, and that I was going to take the Girl's arm and walk down the stairs with her when we quit work.
She didn't seem surprised. ”You know what you're doing?” she said.
”I know.”
She smiled. ”I was wondering when you'd get around to it.”
I began to feel good. I was kissing everything good-bye, but I had my arm around hers.
It was another of those warm fall evenings. We cut across into Ardleigh Park. It was dark there, but all around the sky was a sallow pink from the advertising signs.
We walked for a long time in the park. She didn't say anything and she didn't look at me, but I could see her lips twitching and after a while her hand tightened on my arm.
We stopped. We'd been walking across the gra.s.s. She dropped down and pulled me after her. She put her hands on my shoulders. I was looking down at her face. It was the faintest sallow pink from the glow in the sky. The hungry eyes were dark smudges.
I was fumbling with her blouse. She took my hand away, not like she had in the studio. ”I don't want that,” she said.
First I'll tell you what I did afterwards. Then I'll tell you why I did it. Then I'll tell you what she said.
What I did was run away. I don't remember all of that because I was dizzy, and the pink sky was swinging against the dark trees. But after a while I staggered into the lights of the street. The next day I closed up the studio. The telephone was ringing when I locked the door and there were unopened letters on the floor. I never saw the Girl again in the flesh, if that's the right word.
I did it because I didn't want to die. I didn't want the life drawn out of me. There are vampires and vampires, and the ones that suck blood aren't the worst. If it hadn't been for the warning of those dizzy flashes, and Papa Munsch and the face in the morning paper, I'd have gone the way the others did. But I realized what I was up against while there was still time to tear myself away. I realized that wherever she came from, whatever shaped her, she's the quintessence of the horror behind the bright billboard. She's the smile that tricks you into throwing away your money and your life. She's the eyes that lead you on and on, and then show you death. She's the creature you give everything for and never really get. She's the being that takes everything you've got and gives nothing in return. When you yearn towards her face on the billboards, remember that. She's the lure. She's the bait. She's the Girl.
And this is what she said, ”I want you. I want your high spots. I want everything that's made you happy and everything that's hurt you bad. I want your first girl. I want that s.h.i.+ny bicycle. I want that licking. I want that pinhole camera. I want Betty's legs. I want the blue sky filled with stars. I want your mother's death. I want your blood on the cobblestones. I want Mildred's mouth. I want the first picture you sold. I want the lights of Chicago. I want the gin. I want Gwen's hands. I want your wanting me. I want your life. Feed me, baby, feed me.”
RAY BRADBURY.
Ray Douglas Bradbury was born in Waukegan, Illinois, in 1920. Graduating from Los Angeles High School in 1938, Bradbury was inspired by his readings of H. P. Lovecraft and Clark Ashton Smith in the pulp magazines to begin writing tales of fantasy and horror, and he began publis.h.i.+ng in Weird Tales Weird Tales and other venues in the early 1940s. His first volume, the story collection and other venues in the early 1940s. His first volume, the story collection Dark Carnival Dark Carnival (1947), was published by Arkham House. Bradbury went on to become one of the most distinguished and prolific writers in the field. He laid the foundations for literary science fiction with such pioneering works as (1947), was published by Arkham House. Bradbury went on to become one of the most distinguished and prolific writers in the field. He laid the foundations for literary science fiction with such pioneering works as The Martian Chronicles The Martian Chronicles (1950), (1950), The Ill.u.s.trated Man The Ill.u.s.trated Man (1950), and the dystopian novel (1950), and the dystopian novel Fahrenheit 451 Fahrenheit 451 (1953), while in the realm of fantasy and horror he produced such delicate and winsome works as (1953), while in the realm of fantasy and horror he produced such delicate and winsome works as Dandelion Wine Dandelion Wine (1957), a tale of wonders and terrors in a small town in Illinois; (1957), a tale of wonders and terrors in a small town in Illinois; Something Wicked This Way Comes Something Wicked This Way Comes (1958), about a sinister traveling carnival show; the children's novel (1958), about a sinister traveling carnival show; the children's novel The Halloween Tree The Halloween Tree (1972); and (1972); and Death Is a Lonely Business Death Is a Lonely Business (1985), a roman a clef about Bradbury's writing for the pulps. Along with Fritz Leiber and Richard Matheson, Bradbury transformed the field of supernatural horror by relocating it in the modern age and among the mundane settings of small-town or suburban life. His hundreds of short stories have appeared in many volumes, including (1985), a roman a clef about Bradbury's writing for the pulps. Along with Fritz Leiber and Richard Matheson, Bradbury transformed the field of supernatural horror by relocating it in the modern age and among the mundane settings of small-town or suburban life. His hundreds of short stories have appeared in many volumes, including The October Country The October Country (1955), (1955), The Machineries of Joy The Machineries of Joy (1964), (1964), I Sing the Body Electric! I Sing the Body Electric! (1969), and (1969), and The Toynbee Convector The Toynbee Convector (1988). The best of them are gathered in (1988). The best of them are gathered in The Stories of Ray Bradbury The Stories of Ray Bradbury (1980). Bradbury has also worked extensively in film and television. (1980). Bradbury has also worked extensively in film and television.
”The Fog Horn” (first published in the Sat.u.r.day Evening Post Sat.u.r.day Evening Post for June 23, 1951) is one of Bradbury's most effective short stories and a poignant tale of horrors from the sea. It was credited as the basis for the film for June 23, 1951) is one of Bradbury's most effective short stories and a poignant tale of horrors from the sea. It was credited as the basis for the film The Beast from 20,000 Fathoms The Beast from 20,000 Fathoms (1953), although Bradbury himself remarked on the similarity of the screenplay to his story when he read it while visiting his friend Ray Harryhausen; the next day Bradbury received a telegram offering to buy the film rights to his story. (1953), although Bradbury himself remarked on the similarity of the screenplay to his story when he read it while visiting his friend Ray Harryhausen; the next day Bradbury received a telegram offering to buy the film rights to his story.
THE FOG HORN.
Out there in the cold water, far from land, we waited every night for the coming of the fog, and it came, and we oiled the bra.s.s machinery and lit the fog light up in the stone tower. Feeling like two birds in the gray sky, McDunn and I sent the light touching out, red, then white, then red again, to eye the lonely s.h.i.+ps. And if they did not see our light, then there was always our Voice, the great deep cry of our Fog Horn shuddering through the rags of mist to startle the gulls away like decks of scattered cards and make the waves turn high and foam.
”It's a lonely life, but you're used to it now, aren't you?” asked McDunn.
”Yes,” I said. ”You're a good talker, thank the Lord.”
”Well, it's your turn on land tomorrow,” he said, smiling, ”to dance the ladies and drink gin.”
”What do you think, McDunn, when I leave you out here alone?”
”On the mysteries of the sea.” McDunn lit his pipe. It was a quarter past seven of a cold November evening, the heat on, the light switching its tail in two hundred directions, the Fog Horn b.u.mbling in the high throat of the tower. There wasn't a town for a hundred miles down the coast, just a road which came lonely through dead country to the sea, with few cars on it, a stretch of two miles of cold water out to our rock, and rare few s.h.i.+ps.
”The mysteries of the sea,” said McDunn thoughtfully. ”You know, the ocean's the biggest d.a.m.ned snowflake ever? It rolls and swells a thousand shapes and colors, no two alike. Strange. One night, years ago, I was here alone, when all of the fish of the sea surfaced out there. Something made them swim in and lie in the bay, sort of trembling and staring up at the tower light going red, white, red, white across them so I could see their funny eyes. I turned cold. They were like a big peac.o.c.k's tail, moving out there until midnight. Then, without so much as a sound, they slipped away, the million of them was gone. I kind of think maybe, in some sort of way, they came all those miles to wors.h.i.+p. Strange. But think how the tower must look to them, standing seventy feet above the water, the G.o.d-light flas.h.i.+ng out from it, and the tower declaring itself with a monster voice. They never came back, those fish, but don't you think for a while they thought they were in the Presence?”
I s.h.i.+vered. I looked out at the long gray lawn of the sea stretching away into nothing and nowhere.
”Oh, the sea's full.” McDunn puffed his pipe nervously, blinking. He had been nervous all day and hadn't said why. ”For all our engines and so-called submarines, it'll be ten thousand centuries before we set foot on the real bottom of the sunken lands, in the fairy kingdoms there, and know real real terror. Think of it, it's still the year 300,000 Before Christ down under there. While we've paraded around with trumpets, lopping off each other's countries and heads, they have been living beneath the sea twelve miles deep and cold in a time as old as the beard of a comet.” terror. Think of it, it's still the year 300,000 Before Christ down under there. While we've paraded around with trumpets, lopping off each other's countries and heads, they have been living beneath the sea twelve miles deep and cold in a time as old as the beard of a comet.”
”Yes, it's an old world.”
”Come on. I got something special I been saving up to tell you.”
We ascended the eighty steps, talking and taking our time. At the top, McDunn switched off the room lights so there'd be no reflection in the plate gla.s.s. The great eye of the light was humming, turning easily in its oiled socket. The Fog Horn was blowing steadily, once every fifteen seconds.
”Sounds like an animal, don't it?” McDunn nodded to himself. ”A big lonely animal crying in the night. Sitting here on the edge of ten billion years calling out to the Deeps, I'm here, I'm here, I'm here. And the Deeps do do answer, yes, they do. You been here now for three months, Johnny, so I better prepare you. About this time of year,” he said, studying the murk and fog, ”something comes to visit the lighthouse.” answer, yes, they do. You been here now for three months, Johnny, so I better prepare you. About this time of year,” he said, studying the murk and fog, ”something comes to visit the lighthouse.”
”The swarms of fish like you said?”
”No, this is something else. I've put off telling you because you might think I'm daft. But tonight's the latest I can put it off, for if my calendar's marked right from last year, tonight's the night it comes. I won't go into detail, you'll have to see it yourself. Just sit down there. If you want, tomorrow you can pack your duffel and take the motorboat in to land and get your car parked there at the dinghy pier on the cape and drive on back to some little inland town and keep your lights burning nights, I won't question or blame you. It's happened three years now, and this is the only time anyone's been here with me to verify it. You wait and watch.”
Half an hour pa.s.sed with only a few whispers between us. When we grew tired waiting, McDunn began describing some of his ideas to me. He had some theories about the Fog Horn itself.
”One day many years ago a man walked along and stood in the sound of the ocean on a cold sunless sh.o.r.e and said, 'We need a voice to call across the water, to warn s.h.i.+ps; I'll make one. I'll make a voice like all of time and all of the fog that ever was; I'll make a voice that is like an empty bed beside you all night long, and like an empty house when you open the door, and like trees in autumn with no leaves. A sound like the birds flying south, crying, and a sound like November wind and the sea on the hard, cold sh.o.r.e. I'll make a sound that's so alone that no one can miss it, that whoever hears it will weep in their souls, and hearths will seem warmer, and being inside will seem better to all who hear it in the distant towns. I'll make me a sound and an apparatus and they'll call it a Fog Horn and whoever hears it will know the sadness of eternity and the briefness of life.'”
The Fog Horn blew.
”I made up that story,” said McDunn quietly, ”to try to explain why this thing keeps coming back to the lighthouse every year. The Fog Horn calls it, I think, and it comes. . . .”
”But-” I said.
”Sssst!” said McDunn. ”There!” He nodded out to the Deeps.
Something was swimming toward the lighthouse tower.
It was a cold night, as I have said; the high tower was cold, the light coming and going, and the Fog Horn calling and calling through the raveling mist. You couldn't see far and you couldn't see plain, but there was the deep sea moving on its way about the night earth, flat and quiet, the color of gray mud, and here were the two of us alone in the high tower, and there, far out at first, was a ripple, followed by a wave, a rising, a bubble, a bit of froth. And then, from the surface of the cold sea came a head, a large head, dark-colored, with immense eyes, and then a neck. And then-not a body-but more neck and more! The head rose a full forty feet above the water on a slender and beautiful dark neck. Only then did the body, like a little island of black coral and sh.e.l.ls and crayfish, drip up from the subterranean. There was a flicker of tail. In all, from head to tip of tail, I estimated the monster at ninety or a hundred feet.
I don't know what I said. I said something.
”Steady, boy, steady,” whispered McDunn.