By Bizarre Hands

by Lansdale, Joe R. ; Campbell, Ramsey; Shiner, Lewis

  Then he sensed the train was slowing.

  Cherrywood already?

  No, it was still too early for that. What gave here?

  In the car down from the one in which he sat, a lamp was suddenly lit, and there appeared beside it the chiseled face of the Cherokee porter. Behind him, bags against their legs, were three people: the matronly lady, the boy who loved trains and the beautiful blond woman.

  The train continued to slow. Stopped.

  By God, he thought, they are getting off.

  Hickok got out his little, crumpled train schedule and pressed it out on his knee. He struck a lucifer and held it down behind the seat so that he could read. After that he got out his pocket watch and held it next to the flame. Two-fifteen. The time on his watch and that on the schedule matched. This was a scheduled stop—the little town and fort outside of Cherrywood. He had been right in his daydreaming. The girl was going here.

  Hickok pushed the schedule into his pocket and dropped the dead match on the floor. Even from where he sat, he could see the blond woman. As always, she was smiling. The porter was enjoying the smile and he was giving her one back.

  The train began to stop.

  For a moment, Hickok imagined that he too were getting off here and that the blond woman was his sweetheart. Or better yet, would be. They would meet in the railway station and strike up some talk and she would be one of those new modern women who did not mind a man buying her a drink in public. But she would not be like his wife. She would drink for taste and not effect.

  They would fall instantly in love, and on occasion they would walk in the moonlight down by these tracks, stand beneath the cherry trees and watch the trains run by. And afterwards they would lie down beneath the trees and make love with shadows and starlight as their canopy. When it was over, and they were tired of satisfaction, they would walk arm in arm back towards the town, or the fort, all depending.

  The dream floated away as the blond woman moved down the steps and out of the train. Hickok watched as the porter handed down their bags. He wished he could still see the young woman, but to do that he would have to put his head out the window, and he was old enough that he did not want to appear foolish.

  Goodbye, Little Pretty, he thought. I will think and dream of you often.

  Suddenly he realized that his cheeks were wet with tears. God, but he was unhappy and lonely. He wondered if behind her smiles the young woman might be lonely too.

  He stood and walked toward the light even as the porter reached to turn it out.

  "Excuse me," Hickok said to the man. "I'd like to get off here."

  The porter blinked. "Yes sir, but the schedule only calls for three."

  "I have a ticket for Cherrywood, but I've changed my mind, I'd like to get off here."

  "As you wish, sir." The porter turned up the lamp. "Best hurry, the train's starting. Watch your step. Uh, any luggage?"

  "None."

  Briskly, Hickok stepped down the steps and into the night. The three he had followed were gone. He strained his eyes and saw between a path of cherry trees that they were walking toward the lights of the rail station.

  He turned back to the train. The porter had turned out the light and was no longer visible. The train sang its song. On the roof he saw a ripple of blue-white fulmination jump along the metal fire line. Then the train made a sound like a boiling teapot and began to move.

  For a moment he thought of his wife lying there in their cabin. He thought of her waking in Cherrywood and not finding him there. He did not know what she would do, nor did he know what he would do.

  Perhaps the blond woman would have nothing to do with him. Or maybe, he thought suddenly, she is married or has a sweetheart already.

  No matter. It was the ambition of her that had lifted him out of the old funeral pyre, and like a phoenix fresh from the flames, he intended to stretch his wings and soar.

  The train gained momentum, lashed shadows by him. He turned his back on it and looked through the cherry-wood path. The three had reached the rail station and had gone inside.

  Straightening his collar and buttoning his jacket, he walked toward the station and the pretty blond woman with a face like a hopeful heart.

  TIGHT LITTLE STITCHES

  IN A DEAD MAN’S BACK

  For Ardath Mayhar

  From the journal of Paul Marder

  (Boom!)

  That's a little scientist joke, and the proper way to begin this. As for the purpose of this notebook, I'm uncertain. Perhaps to organize my thoughts and not go insane.

  No. Probably so I can read it and feel as if I'm being spoken to. Maybe neither of those reasons. It doesn't matter. I just want to do it, and that is enough.

  What's new?

  Well, Mr. Journal, after all these years I've taken up martial arts again—or at least the forms and calisthenics of Tae Kwon Do. There is no one to spar with here in the lighthouse, so the forms have to do.

  There is Mary, of course, but she keeps all her sparring verbal. And as of late, there is not even that. I long for her to call me a sonofabitch. Anything. Her hatred of me has cured to 100% perfection and she no longer finds it necessary to speak. The tight lines around her eyes and mouth, the emotional heat that radiates from her body like a dreadful cold sore looking for a place to lie down, is voice enough for her. She lives only for the moment when she (the cold sore) can attach herself to me with her needles, ink and thread. She lives only for the design on my back.

  That's all I live for as well. Mary adds to it nightly and I enjoy the pain. The tattoo is of a great, blue mushroom cloud, and in the cloud, etched ghost-like, is the face of our daughter, Rae. Her lips are drawn tight, eyes are closed and there are stitches deeply pulled to simulate the lashes. When I move fast and hard they rip slightly and Rae cries bloody tears.

  That's one reason for the martial arts. The hard practice of them helps me to tear the stitches so my daughter can cry. Tears are the only thing I can give her.

  Each night I bare my back eagerly to Mary and her needles. She pokes deep and I moan in pain as she moans in ecstasy and hatred. She adds more color to the design, works with brutal precision to bring Rae's face out in sharper relief. After ten minutes she tires and will work no more. She puts the tools away and I go to the full-length mirror on the wall. The lantern on the shelf flickers like a jack-o-lantern in a high wind, but there is enough light for me to look over my shoulder and examine the tattoo. And it is beautiful. Better each night as Rae's face becomes more and more defined.

  Rae.

  Rae. God, can you forgive me, sweetheart?

  But the pain of the needles, wonderful and cleansing as they are, is not enough. So I go sliding, kicking and punching along the walkway around the lighthouse, feeling Rae's red tears running down my spine, gathering in the waistband of my much-stained canvas pants.

  Winded, unable to punch and kick any more, I walk over to the railing and call down into the dark, "Hungry?"

  In response to my voice a chorus of moans rises up to greet me.

  Later, I lie on my pallet, hands behind my head, examine the ceiling and try to think of something worthy to write to you, Mr. Journal. So seldom is there anything. Nothing seems truly worthwhile.

  Bored of this, I roll on my side and look at the great light that once shone out to the ships, but is now forever snuffed. Then I turn the other direction and look at my wife sleeping on her bunk, her naked ass turned toward me. I try to remember what it was like to make love to her, but it is difficult. I only remember that I miss it. For a long moment I stare at my wife's ass as if it is a mean mouth about to open and reveal teeth. Then I roll on my back again, stare at the ceiling, and continue this routine until daybreak.

  Mornings I greet the flowers, their bright red and yellow blooms bursting from the heads of long-dead bodies that will not rot. The flowers open wide to reveal their little black brains and their feathery feelers, and they lift their blooms upward and moan. I get a wild pleasure out
of this. For one crazed moment I feel like a rock singer appearing before his starry-eyed audience.

  When I tire of the game I get the binoculars, Mr. Journal, and examine the eastern plains with them, as if I expect a city to materialize there. The most interesting thing I have seen on those plains is a herd of large lizards thundering north. For a moment, I considered calling Mary to see them, but I didn't. The sound of my voice, the sight of my face, upsets her. She loves only the tattoo and is interested in nothing more.

  When I finish looking at the plains, I walk to the other side. To the west, where the ocean was, there is now nothing but miles and miles of cracked, black sea bottom. Its only resemblances to a great body of water are the occasional dust storms that blow out of the west like dark tidal waves and wash the windows black at mid-day. And the creatures. Mostly mutated whales. Monstrously large, sluggish things. Abundant now where once they were near extinction. (Perhaps the whales should form some sort of GREENPEACE organization for humans now. What do you think, Mr. Journal? No need to answer. Just another one of those little scientist jokes.)

  These whales crawl across the sea bottom near the lighthouse from time to time, and if the mood strikes them, they rise on their tails and push their heads near the tower and examine it. I keep expecting one to flop down on us, crushing us like bugs. But no such luck. For some unknown reason the whales never leave the cracked sea bed to venture onto what we formerly called the shore. It's as if they live in invisible water and are bound by it. A racial memory perhaps. Or maybe there's something in that cracked black soil they need. I don't know.

  Besides the whales I suppose I should mention I saw a shark once. It was slithering along at a great distance and the tip of its fin was winking in the sunlight. I've also seen some strange, legged fish and some things I could not put a name to. I'll just call them whale food since I saw one of the whales dragging his bottom jaw along the ground one day, scooping up the creatures as they tried to beat a hasty retreat.

  Exciting, huh? Well, that's how I spend my day, Mr. Journal. Roaming about the tower with my glasses, coming in to write in you, waiting anxiously for Mary to take hold of that kit and give me the signal. The mere thought of it excites me to erection. I suppose you could call that our sex act together.

  And what was I doing the day they dropped The Big One?

  Glad you asked that Mr. Journal, really I am.

  I was doing the usual. Up at six, did the shit, shower and shave routine. Had breakfast. Got dressed. Tied my tie. I remember doing the latter, and not very well, in front of the bedroom mirror, and noticing that I had shaved poorly. A hunk of dark beard decorated my chin like a bruise.

  Rushing to the bathroom to remedy that, I opened the door as Rae, naked as the day of her birth, was stepping from the tub.

  Surprised, she turned to look at me. An arm went over her breasts, and a hand, like a dove settling into a fiery bush, covered her pubic area.

  Embarrassed, I closed the door with an "excuse me" and went about my business—unshaved. It was an innocent thing. An accident. Nothing sexual. But when I think of her now, more often than not, that is the first image that comes to mind. I guess it was the moment I realized my baby had grown into a beautiful woman.

  That was also the day she went off to her first day of college and got to see, ever so briefly, the end of the world.

  And it was the day the triangle—Mary, Rae and myself—shattered.

  If my first memory of Rae alone is that day, naked in the bathroom, my foremost memory of us as a family is when Rae was six. We used to go to the park and she would ride the merry-go-round, swing, teeter-totter, and finally my back. ("I want to piggy Daddy.") We would gallop about until my legs were rubber, then we would stop at the bench where Mary sat waiting. I would turn my back to the bench so Mary could take Rae down, but always before she did, she would reach around from behind, caressing Rae, pushing her tight against my back, and Mary's hands would touch my chest.

  God, but if I could describe those hands. She still has hands like that, after all these years. They are long and sleek and artistic. Naturally soft, like the belly of a baby rabbit. And when she held Rae and me that way, I felt that no matter what happened in the world, we three could stand against it and conquer.

  But now the triangle is broken and the geometry gone away.

  So the day Rae went off to college and was fucked into oblivion by the dark, pelvic thrust of the bomb, Mary drove me to work. Me, Paul Marder, big shot with The Crew. One of the finest, brightest young minds in the industry. Always teaching, inventing and improving on our nuclear threat, because, as we often joked, "We cared enough to send only the very best."

  When we arrived at the guard booth, I had out my pass, but there was no one to take it. Beyond the chain-link gate there was a wild mêlée of people running, screaming, falling down.

  I got out of the car and ran to the gate. I called out to a man I knew as he ran by. When he turned his eyes were wild and his lips were flecked with foam. "The missiles are flying," he said, then he was gone, running madly.

  I jumped in the car, pushed Mary aside and stomped on the gas. The Buick leaped into the fence, knocking it asunder. The car spun, slammed into the edge of a building and went dead. I grabbed Mary's hand, pulled her from the car and we ran toward the great elevators. We made one just in time. There were others running for it as the door closed, and the elevator went down. I still remember the echo of their fists on the metal as it began to drop. It was like the rapid heartbeat of something dying.

  And so the elevator took us to the world of Down Under and we locked it off. There we were in a five-mile layered city designed not only as a massive office and laboratory, but as a impenetrable shelter. It was our special reward for creating the poisons of war. There was food, shelter, medical supplies, films, books, you name it. Enough to last two thousand people for a hundred years. Of the two thousand it was designed for, perhaps eleven hundred made it. The others didn't run fast enough from the parking lot or the other buildings, or they were late for work, or maybe they had called in sick.

  Perhaps they were the lucky ones. They might have died in their sleep. Or while they were having a morning quickie with the spouse. Or perhaps as they lingered over that last cup of coffee.

  Because you see, Mr. Journal, Down Under was no paradise. Before long suicides were epidemic. I considered it myself from time to time. People slashed their throats, drank acid, took pills. It was not unusual to come out of your cubicle in the morning and find people dangling from pipes and rafters like ripe fruit.

  There were also the murders. Most of them performed by a crazed group who lived in the deeper recesses of the unit and called themselves the Shit Faces. From time to time they smeared dung on themselves and ran amok, clubbing men, women, and children born Down Under, to death. It was rumored they ate human flesh.

  We had a police force of sorts, but it didn't do much. It didn't have a sense of authority. Worse, we all viewed ourselves as deserving victims. Except for Mary, we had all helped to blow up the world.

  Mary came to hate me. She came to the conclusion I had killed Rae. It was a realization that grew in her like a drip growing and growing until it became a gushing flood of hate. She seldom talked to me. She tacked up a picture of Rae and looked at it most of the time.

  Topside she had been an artist, and she took that up again. She rigged a kit of tools and inks and became a tattooist. Everyone came to her for a mark. And though each was different, they all seemed to indicate one thing: I fucked up. I blew up the world. Brand me.

  Day in and day out she did her tattoos, having less and less to do with me, pushing herself more and more into this work until she was as skilled with skin and needles as she had been Topside with brush and canvas. And one night, as we lay on our separate pallets, feigning sleep, she said to me, "I just want you to know how much I hate you."

  "I know," I said.

  "You killed Rae."

  "I know."

>   "Say you killed her, you bastard. Say it."

  "I killed her," I said, and meant it.

  Next day I asked for my tattoo. I told her of this dream that came to me nightly. There would be darkness, and out of this darkness would come a swirl of glowing clouds, and the clouds would meld into a mushroom shape, and out of that—torpedo-shaped, nose pointing skyward, striding on ridiculous cartoon legs—would step The Bomb.

  There was a face painted on The Bomb, and it was my face. And suddenly the dream's point of view would change, and I would be looking out of the eyes of that painted face. Before me was my daughter. Naked. Lying on the ground. Her legs wide apart. Her sex glazed like a wet canyon.

  And I/The Bomb, would dive into her, pulling those silly feet after me, and she would scream. I could hear it echo as I plunged through her belly, finally driving myself out of the top of her head, then blowing to terminal orgasm. And the dream would end where it began. A mushroom cloud. Darkness.

  When I told Mary the dream and asked her to interpret it in her art, she said, "Bare your back," and that's how the design began. An inch of work at a time—a painful inch. She made sure of that.

  Never once did I complain. She'd send the needles home as hard and deep as she could, and though I might moan or cry out, I never asked her to stop. I could feel those fine hands touching my back and I loved it. The needles. The hands. The needles. The hands.

  And if that was so much fun, you ask, why did I come Topside?

  You ask such probing questions, Mr. Journal. Really you do, and I'm glad you asked that. My telling you will be like a laxative, I hope. Maybe if I just let the shit flow I'll wake up tomorrow and feel a lot better about myself.

  Sure. And it will be the dawning of a new Pepsi generation as well. It will have all been a bad dream. The alarm clock will ring, I'll get up, have my bowl of Rice Krispies and tie my tie.

  Okay, Mr. Journal. The answer. Twenty years or so after we went Down Under, a fistful of us decided it couldn't be any worse Topside than it was below. We made plans to go see. Simple as that. Mary and I even talked a little. We both entertained the crazed belief Rae might have survived. She would be thirty-eight. We might have been hiding below like vermin for no reason. It could be a brave new world up there.