You Know They Got a Hell of a Band Page 4

  The redhead and the cook -- even the younger waitress, who, thankfully, didn't look like anyone famous -- glanced casually toward the plate-glass windows of the Rock-a-Boogie.

  "Don't let it get you, hon," the redhead said. "They're just startin to tune up for the concert tonight."

  "That's right," the short-order cook said. He regarded Mary with his drop-dead blue eyes. "We have a concert here in town most every night."

  Yes, Mary thought. Of course. Of course you do.

  A voice both toneless and godlike rolled across from the town common, a voice almost loud enough to rattle the windows. Mary, who had been to her share of rock shows, was able to place it in a clear context at once -- it called up images of bored, long-haired roadies strolling around the stage before the lights went down, picking their way with easy grace between the forests of amps and mikes, kneeling every now and then to patch two power-cords together.

  "Test!" this voice cried. "Test-one, test-one, test-one!"

  Another guitar chop, still not a chord but close this time. Then a drum-run. Then a fast trumpet riff lifted from the chorus of "Instant Karma," accompanied by a light rumble of bongos. concert tonight, the Norman Rockwell sign over the Norman Rockwell town common had said, and Mary, who had grown up in Elmira, New York, had been to quite a few free concerts-on-the-green as a child. Those really had been Norman Rockwell concerts, with the band (made up of guys wearing their Volunteer Fire Department kit in lieu of the band uniforms they couldn't afford) tootling their way through slightly off-key Sousa marches and the local Barber Shop Quartet (Plus Two) harmonizing on things like "Shenandoah" and "I've Got a Gal from Kalama-zoo."

  She had an idea that the concerts in Rock and Roll Heaven might be quite different from those childhood musicales where she and her friends had run around waving sparklers as twilight drew on for night.

  She had an idea that these concerts-on-the-green might be closer to Goya than to Rockwell.

  "I'll go get your wallet," he said. "Enjoy your pie."

  "Thank you, Clark." She put another tasteless forkful of pie in her mouth and watched him head for the door. He walked in an exaggerated slow-motion saunter that struck her feverish eye as absurd and somehow horrid: / don't have the slightest idea that I'm sharing this room with a couple of famous corpses, Clark's ambling, sauntering stride was saying. What, me worry?

  Hurry up! she wanted to scream. Forget about the gunslinger strut and move your ass!

  The bell jingled and the door opened as Clark reached for the knob, and two more dead Texans came in. The one wearing the dark glasses was Roy Orbison. The one wearing the hornrims was Buddy Holly.

  All my exes come from Texas, Mary thought wildly, and waited for them to lay their hands on her husband and drag him away.

  " 'Scuse me, sir," the man in the dark glasses said politely, and instead of grabbing Clark, he stepped aside for him. Clark nodded without speaking -- Mary was suddenly quite sure he couldn't speak -- and stepped out into the sunshine.

  Leaving her alone in here with the dead. And that thought seemed to lead naturally to another one, even more horrible: Clark was going to drive off without her. She was suddenly sure of it. Not because he wanted to, and certainly not because he was a coward -- this situation went beyond questions of courage and cowardice, and she supposed that the only reason they both weren't gibbering and drooling on the floor was because it had developed so fast -- but because he just wouldn't be able to do anything else. The reptile that lived on the floor of his brain, the one in charge of self-preservation, would simply slither out of its hole in the mud and take charge of things.

  You've got to get out of here, Mary, the voice in her mind -- the one that belonged to her own reptile -- said, and the tone of that voice frightened her. It was more reasonable than it had any right to be, given the situation, and she had an idea that sweet reason might give way to shrieks of madness at any moment.

  Mary took one foot off the rail under the counter and put it on the floor, trying to ready herself mentally for flight as she did so, but before she could gather herself, a narrow hand fell on her shoulder and she looked up into the smiling, knowing face of Buddy Holly.

  He had died in 1959, a piece of trivia she remembered from that movie where Gary Busey had played him. 1959 was over thirty years gone, but Buddy Holly was still a gawky twenty-three-year-old who looked seventeen, his eyes swimming behind his glasses and his adam's apple bobbing up and down like a monkey on a stick. He was wearing an ugly plaid jacket and a string tie. The tie's clasp was a large chrome steer-head. The face and the taste of a country bumpkin, you would have said, but there was something in the set of the mouth that was too wise, somehow, too dark, and for a moment the hand gripped her shoulder so tightly she could feel the tough pads of callus on the ends of the fingers -- guitar calluses.

  "Hey there, sweet thang," he said, and she could smell clove gum on his breath. There was a silvery crack, hair-thin, zigzagging across the left lens of his glasses. "Ain't seen you roun' these parts before."

  Incredibly, she was lifting another forkful of pie toward her mouth, her hand not hesitating even when a clot of cherry filling plopped back onto her plate. More incredibly, she was slipping the fork through a small, polite smile.

  "No," she said. She was somehow positive that she couldn't let this man see she had recognized him; if he did, any small chance she and Clark might still have would evaporate. "My husband and I are just... you know, passing through."

  And was Clark passing through even now, desperately keeping to the posted speed limit while the sweat trickled down his face and his eyes rolled back and forth from the mirror to the windshield and back to the mirror again? Was he?

  The man in the plaid sportcoat grinned, revealing teeth that were too big and much too sharp. "Yep, I know how that is, all right -- y'all seen hoot, n now you're on your way to holler. That about the size of it?''

  "I thought this was hoot," Mary said primly, and that made the newcomers first looks at each other, eyebrows raised, and then shout with laughter. The young waitress looked from one to the other with her frightened, bloodshot eyes.

  "That ain't half-bad," Buddy Holly said. "You and y'man ought to think about hangin on a little while, though. Stay for the concert tonight, at least. We put on one heckuva show, if I do say so myself." Mary suddenly realized that the eye behind the cracked lens had filled up with blood. As Holly's grin widened, pushing the corners of his eyes into a squint, a single scarlet drop spilled over his lower lid and tracked down his cheek like a tear. "Isn't that right, Roy?"

  "Yes, ma'am, it is," the man in the shades said. "You have to see it to believe it."

  "I'm sure that's true," Mary said faintly. Yes, Clark was gone. She was sure of it now. The Testosterone Kid had run like a rabbit, and she supposed that soon enough the frightened young girl with the coldsore would lead her into the back room, where her own rayon uniform and order pad would be waiting.

  "It's somethin to write home about," Holly told her proudly. ”I mean to say." The drop of blood fell from his face and pinked onto the seat of the stool Clark had so recently vacated. "Stick around. You'll be glad y'did." He looked to his friend for support.

  The man in the dark glasses had joined the cook and the waitresses; he dropped his hand onto the hip of the redhead, who put her own hand over it and smiled up at him. Mary saw that the nails on the woman's short, stubby fingers had been gnawed to the quick. A Maltese cross hung in the open V of Roy Orbison's shirt. He nodded and flashed a smile of his own. "Love to have you, ma'am, and not just for the night, either -- draw up and set a spell, we used to say down home."

  "I'll ask my husband," she heard herself saying, and completed the thought in her mind: If I ever see him again, that is.

  "You do that, sugar pie!" Holly told her. "You just do that very thing!" Then, incredibly, he was giving her shoulder one final squeeze and walking away, leaving her a clear path to the door. Even more incredibly, she could see the Merced
es's distinctive grille and peace-sign hood ornament still outside.

  Buddy joined his friend Roy, winked at him (producing another bloody tear), then reached behind Janis and goosed her. She screamed indignantly, and as she did, a flood of maggots flew from her mouth. Most struck the floor between her feet, but some clung to her lower lip, squirming obscenely.

  The young waitress turned away with a sad, sick grimace, raising one blocking hand to her face. And for Mary Willingham, who suddenly understood they had very likely been playing with her all along, running ceased to be something she had planned and became an instinctive reaction. She was up and off the stool like a shot and sprinting for the door.

  "Hey!" the redhead screamed. "Hey, you didn't pay for the pie! Or the sodas, either! This ain't no Dine and Dash, you crotch! Rick! Buddy! Get her!"

  Mary grabbed for the doorknob and felt it slip through her fingers. Behind her, she heard the thump of approaching feet. She grabbed the knob again, succeeded in turning it this time, and yanked the door open so hard she tore off the overhead bell. A narrow hand with hard calluses on the tips of the fingers grabbed her just above the elbow. This time the fingers were not just squeezing but pinching; she felt a nerve suddenly go critical, first sending a thin wire of pain from her elbow all the way up to the left side of her jaw and then numbing her arm.

  She swung her right fist back like a short-handled croquet mallet, connecting with what felt like the thin shield of pelvic bone above a man's groin. There was a pained snort -- they could feel pain, apparently, dead or not -- and the hand holding her arm loosened. Mary tore free and bolted through the doorway, her hair standing out around her head in a bushy corona of fright.

  Her frantic eyes locked on the Mercedes, still parked on the street. She blessed Clark for staying. And he had caught all of her brainwave, it seemed; he was sitting behind the wheel instead of groveling under the passenger seat for her wallet, and he keyed the Princess's engine the moment she came flying out of the Rock-a-Boogie.

  The man in the flower-decorated top-hat and his tattooed companion were standing outside the barber shop again, watching expressionlessly as Mary yanked open the passenger door. She thought she now recognized Top-Hat -- she had three Lynyrd Skynyrd albums, and she was pretty sure he was Ronnie Van Zant. No sooner had she realized that than she knew who his illustrated companion was: Duane Allman, killed when his motorcycle skidded beneath a tractor-trailer rig twenty years ago. He took something from the pocket of his denim jacket and bit into it. Mary saw with no surprise at all that it was a peach.

  Rick Nelson burst out of the Rock-a-Boogie. Buddy Holly was right behind him, the entire left side of his face now drenched in blood.

  "Get in!" Clark screamed at her. "Get in the fucking car, Mary!''

  She threw herself into the passenger bucket head-first and he was backing out before she could even make a try at slamming the door. The Princess's rear tires howled and sent up clouds of blue smoke. Mary was thrown forward with neck-snapping force when Clark stamped the brake, and her head connected with the padded dashboard. She groped behind her for the open door as Clark cursed and yanked the transmission down into drive.

  Rick Nelson threw himself onto the Princess's gray hood. His eyes blazed. His lips were parted over impossibly white teeth in a hideous grin. His cook's hat had fallen off, and his dark-brown hair hung around his temples in oily snags and corkscrews.

  "You're coming to the show!" he yelled.

  "Fuck you!" Clark yelled back. He found drive and floored the accelerator. The Princess's normally sedate diesel engine gave a low scream and shot forward. The apparition continued to cling to the hood, snarling and grinning in at them.

  “Buckle your seatbelt!'' Clark bellowed at Mary as she sat up.

  She snatched the buckle and jammed it home, watching with horrified fascination as the thing on the hood reached forward with its left hand and grabbed the windshield wiper in front of her. It began to haul itself forward. The wiper snapped off. The thing on the hood glanced at it, tossed it overboard, and reached for the wiper on Clark's side.

  Before he could get it, Clark tramped on the brake again -- this time with both feet. Mary's seatbelt locked, biting painfully into the underside of her left breast. For a moment there was a terrible feeling of pressure inside her, as if her guts were being shoved up into the funnel of her throat by a ruthless hand. The thing on the hood was thrown clear of the car and landed in the street. Mary heard a brittle crunching sound, and blood splattered the pavement in a starburst pattern around its head.

  She glanced back and saw the others running toward the car. Janis was leading them, her face twisted into a hag-like grimace of hate and excitement.

  In front of them, the short-order cook sat up with the boneless ease of a puppet. The big grin was still on his face.

  "Clark, they're coming!" Mary screamed.

  He glanced briefly into the rear-view, then floored the accelerator again. The Princess leaped ahead. Mary had time to see the man sitting in the street raise one arm to shield his face, and wished that was all she'd had time to see, but there was something else, as well, something worse: beneath the shadow of his raised arm, she saw he was still grinning.

  Then two tons of German engineering hit him and bore him under. There were crackling sounds that reminded her of a couple of kids rolling in a pile of autumn leaves. She clapped her hands over her ears -- too late, too late -- and screamed.

  "Don't bother," Clark said. He was looking grimly into the rear-view mirror. "We couldn't have hurt him too badly -- he's getting up again."

  "What?"

  "Except for the tire-track across his shirt, he's -- " He broke off abruptly, looking at her. "Who hit you, Mary?"

  "What?"

  "Your mouth is bleeding. Who hit you?"

  She put a finger to the corner of her mouth, looked at the red smear on it, then tasted it. "Not blood -- pie," she said, and uttered a desperate, cracked laugh. "Get us out of here, Clark, please get us out."

  "You bet," he said, and turned his attention back to Main Street, which was wide and -- for the time being, at least -- empty. Mary noticed that, guitars and amps on the town common or not, there were no power-lines on Main Street, either. She had no idea where Rock and Roll Heaven was getting its power (well... maybe some idea), but it certainly wasn't from Central Oregon Power and Light.

  The Princess was gaining speed as all diesels seem to – not fast, but with a kind of relentless strength -- and chumming a dark brown cloud of exhaust behind her. Mary caught a blurred glimpse of a department store, a bookstore, and a maternity shop called Rock and Roll Lullabye. She saw a young man with shoulder-length brown curls standing outside The Rock Em & Sock Em Billiards Emporium, his arms folded across his chest and one snakeskin boot propped against the whitewashed brick. His face was handsome in a heavy, pouting way, and Mary recognized him at once.

  So did Clark. "That was the Lizard King himself," he said in a dry, emotionless voice.

  "I know. I saw."

  Yes -- she saw, but the images were like dry paper bursting into flame under a relentless, focused light which seemed to fill her mind; it was as if the intensity of her horror had turned her into a human magnifying glass, and she understood that if they got out of here, no memories of this Peculiar Little Town would remain; the memories would be just ashes blowing in the wind. That was the way these things worked, of course. A person could not retain such hellish images, such hellish experiences, and remain rational, so the mind turned into a blast-furnace, crisping each one as soon as it was created.

  That must be -why most people can still afford the luxury of disbelieving in ghosts and haunted houses, she thought. Because when the mind is turned toward the terrifying and the irrational, like someone who is turned and made to look upon the face of Medusa, it forgets. It has to forget. And God! Except for getting out of this hell, forgetting is the only thing in the world I want.

  She saw a little cluster of people standing
on the tarmac of a Cities Service station at an intersection near the far end of town. They wore frightened, ordinary faces above faded ordinary clothes. A man in an oil-stained mechanic's coverall. A woman in a nurse's uniform -- white once, maybe, now a dingy gray. An older couple, she in orthopedic shoes and he with a hearing aid in one ear, clinging to each other like children who fear they are lost in the deep dark woods. Mary understood without needing to be told that these people, along with the younger waitress, were the real residents of Rock and Roll Heaven, Oregon. They had been caught the way a pitcher-plant catches bugs.

  "Please get us out of here, Clark," she said. "Please." Something tried to come up her throat and she clapped her hands over her mouth, sure she was going to upchuck. Instead of vomiting, she uttered a loud belch that burned her throat like fire and tasted of the pie she had eaten in the Rock-a-Boogie.

  "We'll be okay. Take it easy, Mary."

  The road -- she could no longer think of it as Main Street now that she could see the end of town just ahead -- ran past the Rock and Roll Heaven Municipal Fire Department on the left and the school on the right (even in her heightened state of terror, there seemed something existential about a citadel of learning called the Rock and Roll Grammar School). Three children stood in the playground adjacent to the school, watching with apathetic eyes as the Princess tore past. Up ahead, the road curved around an outcrop with a guitar-shaped sign planted on it: you are now

  • LEAVING ROCK AND ROLL HEAVEN •

  • GOODNIGHT SWEETHEART GOODNIGHT. •

  Clark swung the Princess into the curve without slowing, and on the far side, there was a bus blocking the road.

  It was no ordinary yellow school bus like the one they had seen in the distance as they entered town; this one raved and rioted with a hundred colors and a thousand psychedelic swoops, an oversized souvenir of the Summer of Love. The windows flocked with butterfly decals and peace signs, and even as Clark screamed and brought his feet down on the brake, she read, with a fatalistic lack of surprise, the words floating up the painted side like overfilled dirigibles: the magic bus.