Beyond Rue Morgue Anthology
Page 29
Then it was gone.
Lewis waited a moment in the shadows, breathing shallowly. Every bone in his body ached with cold now, and his feet were numb. The beast showed no sign of returning; so he ventured out of his hiding place and tried the door. It was not locked. As he stepped inside a stench struck him: the sickly sweet smell of rotten fruit mingled with the cloying cologne: the zoo and the boudoir.
He edged down a flight of slimy stone steps, and along a short, tiled corridor towards a door. It too was unlocked; and the bare bulb inside illuminated a bizarre scene.
On the floor, a large, somewhat thread-bare Persian carpet; sparse furnishings; a bed, roughly covered with blankets and stained hessian; a wardrobe, bulging with oversize clothes; discarded fruit in abundance, some trodden into the floor; a bucket, filled with straw and stinking of droppings. On the wall, a large crucifix. On the mantelpiece a photograph of Catherine, Lewis, and Phillipe together in a sunlit past, smiling. At the sink, the creature’s shaving kit. Soap, brush, razor. Fresh suds. On the dresser a pile of money, left in careless abundance beside a pile of hypodermics and a collection of small bottles. It was warm in the beast’s garret; perhaps the furnace for the house roared in an adjacent cellar. Solal was not there.
Suddenly, a noise.
Lewis turned to the door, expecting the ape to be filling it, teeth bared, eyes demonic. But he had lost all orientation; the noise was not from the door but from the wardrobe. Behind the pile of clothes there was a movement.
“Solal?”
Jacques Solal half fell out of the wardrobe, and sprawled across the Persian carpet. His face was disfigured by one foul wound, so that it was all but impossible to find any part of his features that was still Jacques.
The creature had taken hold of his lip and pulled his muscle off his bone, as though removing a balaclava. His exposed teeth chattered away in nervous response to oncoming death; his limbs jangled and shook. But Jacques was already gone. These shudders and jerks were not signs of thought or personality, just the din of passing. Lewis knelt at Solal’s side; his stomach was strong. During the war, being a conscientious objector, he had volunteered to serve in the Military Hospital, and there were few transformations of the human body he had not seen in one combination or another. Tenderly, he cradled the body, not noticing the blood. He hadn’t loved this man, scarcely cared for him at all, but now all he wanted was to take him away, out of the ape’s cage, and find him a human grave. He’d take the photograph too. That was too much, giving the beast a photograph of the three friends together. It made him hate Phillipe more than ever.
He hauled the body off the carpet. It required a gargantuan effort, and the sultry heat in the room, after the chill of the outside world, made him dizzy. He could feel a jittering nervousness in his limbs. His body was close to betraying him, he knew it; close to failing, to losing its coherence and collapsing.
Not here. In God’s name, not here.
Maybe he should go now, and find a phone. That would be wise. Call the police, yes... call Catherine, yes... even find somebody in the house to help him. But that would mean leaving Jacques in the lair, for the beast to assault again, and he had become strangely protective of the corpse; he was unwilling to leave it alone. In an anguish of confused feelings, unable to leave Jacques yet unable to move him far, he stood in the middle of the room and did nothing at all. That was best; yes. Nothing at all. Too tired, too weak. Nothing at all was best.
The reverie went on interminably; the old man fixed beyond movement at the crux of his feelings, unable to go forward into the future, or back into the soiled past. Unable to remember. Unable to forget.
Waiting, in a dreamy half-life, for the end of the world.
It came home noisily like a drunken man, and the sound of its opening the outer door stirred Lewis into a slow response. With some difficulty he hauled Jacques into the wardrobe, and hid there himself, with the faceless head in his lap.
There was a voice in the room, a woman’s voice. Maybe it wasn’t the beast, after all. But no: through the crack of the wardrobe door Lewis could see the beast, and a red-haired young woman with him. She was talking incessantly, the perpetual trivia of a spaced-out mind.
“You’ve got more; oh you sweetie, oh you dear man, that’s wonderful. Look at all this stuff.”
She had pills in her hands and was swallowing them like sweets, gleeful as a child at Christmas.
“Where did you get all this? OK, if you don’t want to tell me, it’s fine by me.”
Was this Phillipe’s doing too, or had the ape stolen the stuff for his own purposes? Did he regularly seduce redheaded prostitutes with drugs?
The girl’s grating babble was calming now, as the pills took effect, sedating her, transporting her to a private world. Lewis watched, entranced, as she began to undress.
“It’s so... hot... in here.”
The ape watched, his back to Lewis. What expression did that shaved face wear? Was there lust in its eyes, or doubt?
The girl’s breasts were beautiful, though her body was rather too thin. The young skin was white, the nipples flower-pink. She raised her arms over her head and as she stretched the perfect globes rose and flattened slightly. The ape reached a wide hand to her body and tenderly plucked at one of her nipples, rolling it between dark-meat fingers. The girl sighed.
“Shall I... take everything off?”
The monkey grunted.
“You don’t say much, do you?”
She shimmied out of her red skirt. Now she was naked but for a pair of knickers. She lay on the bed stretching again, luxuriating in her body and the welcome heat of the room, not even bothering to look at her admirer.
Wedged underneath Solal’s body, Lewis began to feel dizzy again. His lower limbs were now completely numb, and he had no feeling in his right arm, which was pressed against the back of the wardrobe, yet he didn’t dare move. The ape was capable of anything, he knew that. If he was discovered what might it not choose to do, to him and to the girl?
Every part of his body was now either nerveless, or wracked with pain. In his lap Solal’s seeping body seemed to become heavier with every moment. His spine was screaming, and the back of his neck pained him as though pierced with hot knitting-needles. The agony was becoming unbearable; he began to think he would die in this pathetic hiding place, while the ape made love.
The girl sighed, and Lewis looked again at the bed. The ape had its hand between her legs, and she squirmed beneath its ministrations.
“Yes, oh yes,” she said again and again, as her lover stripped her completely.
It was too much. The dizziness throbbed through Lewis’ cortex. Was this death? The lights in the head, and the whine in the ears?
He closed his eyes, blotting out the sight of the lovers, but unable to shut out the noise. It seemed to go on forever, invading his head. Sighs, laughter, little shrieks.
At last, darkness.
* * *
Lewis woke on an invisible rack; his body had been wrenched out of shape by the limitations of his hiding-place. He looked up. The door of the wardrobe was open, and the ape was staring down at him, its mouth attempting a grin. It was naked; and its body was almost entirely shaved. In the cleft of its immense chest a small gold crucifix glinted. Lewis recognized the jewelry immediately. He had bought it for Phillipe in the Champs-Élysées just before the war. Now it nestled in a tuft of reddish-orange hair. The beast proffered a hand to Lewis, and he automatically took it. The coarse-palmed grip hauled him from under Solal’s body. He couldn’t stand straight. His legs were rubbery, his ankles wouldn’t support him. The beast took hold of him, and steadied him. His head spinning, Lewis looked down into the wardrobe, where Solal was lying, tucked up like a baby in its womb, face to the wall.
The beast closed the door on the corpse, and helped Lewis to the sink, where he was sick.
“Phillipe?” He dimly realized that the woman was still here: in the bed: just woken after a night of love.
“Ah... Phillipe... please. Do you want me to go with this one as well? I will if you want. Just give me back the pills.”
She gestured towards Lewis.
“I don’t usually go with old men.”
The ape growled at her. The expression on her face changed, as though for the first time she had an inkling of what this John was. But the thought was too difficult for her drugged mind, and she let it go.
“Please, Phillipe...” she whimpered.
Lewis was looking at the ape. It had taken the photograph from the mantelpiece. Its dark nail was on Lewis’ picture. It was smiling. It recognized him, even though forty-odd years had drained so much life from him.
“Lewis,” it said, finding the word quite easy to say.
The old man had nothing in his stomach to vomit, and no harm left to feel. This was the end of the century, he should be ready for anything. Even to be greeted as a friend of a friend by the shaved beast that loomed in front of him. It would not harm him, he knew that. Probably Phillipe had told the ape about their lives together; made the creature love Catherine and himself as much as it had adored Phillipe.
“Lewis,” it said again, and gestured to the woman (now sitting open-legged on the bed), offering her for his pleasure.
Lewis shook his head.
In and out, in and out, part fiction, part fact.
It had come to this; offered a human woman by this naked ape. It was the last, God help him, the very last chapter in the fiction his great uncle had begun. From love to murder back to love. Again. The love of an ape for a man. He had caused it, with his dreams of fictional heroes, steeped in absolute reason. He had coaxed Phillipe into making real the stories of a lost youth. He was to blame. Not this poor strutting ape, lost between the jungle and the Stock Exchange; not Phillipe, wanting to be young forever; certainly not cold Catherine, who after tonight would be completely alone. It was him. His the crime, his the guilt, his the punishment.
His legs had regained a little feeling, and he began to stagger to the door.
“Aren’t you staying?” said the red-haired woman.
“This thing...” he couldn’t bring himself to name the animal.
“You mean Phillipe?”
“He isn’t called Phillipe,” Lewis said. “He’s not even human.”
“Please yourself,” she said, and shrugged.
To his back, the ape spoke, saying his name. But this time, instead of it coming out as a sort of grunt-word, its simian palate caught Phillipe’s inflexion with unnerving accuracy, better than the most skillful of parrots. It was Phillipe’s voice, perfectly.
“Lewis,” it said.
Not pleading. Not demanding. Simply naming, for the pleasure of naming, an equal.
* * *
The passers-by who saw the old man clamber on to the parapet of the Pont du Carrousel stared, but made no attempt to stop him jumping. He teetered a moment as he stood up straight, then pitched over into the threshing, churning ice-water.
One or two people wandered to the other side of the bridge to see if the current had caught him: it had. He rose to the surface, his face blue-white and blank as a baby’s, then some intricate eddy snatched at his feet and pulled him under. The thick water closed over his head and churned on.
“Who was that?” somebody asked.
“Who knows?”
It was a clear-heaven day; the last of the winter’s snow had fallen, and the thaw would begin by noon. Birds, exulting in the sudden sun, swooped over the Sacré Coeur. Paris began to undress for spring, its virgin white too spoiled to be worn for long.
In mid-morning, a young woman with red hair, her arm linked in that of a large ugly man, took a leisurely stroll to the steps of the Sacré Coeur. The sun blessed them. Bells rang.
It was a new day.
THE CONTRIBUTORS
EDGAR ALLAN POE (1809-49) is possibly one of the best known genre writers of all time. He saw himself as primarily a poet—his most famous poem probably remains “The Raven”— but it is with his tales of mystery and imagination that he has become synonymous. Stories such as “The Masque of the Red Death,” “The Pit and the Pendulum,” “The Fall of the House of Usher,” “The Black Cat,” and of course “The Tell-Tale Heart” have cemented his place in horror history. But some critics have also labeled him the originator of the detective story (due to “The Murders in the Rue Morgue”), while others see him as an early forerunner in the science fiction genre. Greatly admired and imitated, his work has been adapted for film and television many times, most notably by Universal Studios in the 1930s, Roger Corman in the 1960s, and by the Italian Master of Suspense Dario Argento and Night of the Living Dead director George A. Romero in the 1990s.
MIKE CAREY was born in Liverpool, but moved to London in the 1980s after completing an English degree at Oxford. He taught English and Media for several years before resigning to become a freelance writer in 2000. Initially he worked mainly within the medium of comic books, coming to prominence with the Lucifer ongoing series at DC Vertigo. Since then, he has written Hellblazer for DC, X-Men and Fantastic Four for Marvel, Vampirella for Harris and Red Sonja for Dynamite Entertainment. He also wrote the Marvel Comics adaptation of Orson Scott Card’s Ender’s Shadow, and has recently launched a creator-owned book at Vertigo, The Unwritten, which (in collected format) has made the New York Times graphic novel bestseller list several times.
More recently, Mike has moved into prose fiction with the Felix Castor novels, supernatural crime thrillers recounting the exploits of a freelance exorcist, and (under the pseudonym of Adam Blake) with mainstream thrillers such as The Dead Sea Deception. Along with his wife Linda and their daughter Louise he has co-written the fantasy novel The Steel Seraglio, soon to be published in the UK as City of Silk and Steel. His movie screenplay, Dominion, is in development with US producer Intrepid Pictures and UK’s Slingshot Studios.
SIMON CLARK’s latest novel, Inspector Abberline & the Gods of Rome, blends crime and the occult into a horror-thriller set in ninteenth-century England. His other books include Blood Crazy, This Rage of Echoes, Death’s Dominion, Vengeance Child and the award-winning The Night of the Triffids, which continues the story of Wyndham’s classic The Day of the Triffids.
WESTON OCHSE is the author of nine novels, most recently SEAL Team 666. His first novel, Scarecrow Gods, won the Bram Stoker Award for First Novel. He’s also had published more than a hundred short stories, many of which appeared in anthologies, magazines, peered journals, and comic books. His short fiction has been nominated for the Pushcart Prize and been Bram Stoker Award finalists. FYI, his last name is pronounced “oaks.” According to Harlan Ellison, “Weston Ochse sounds like a stately trailer park or a nursing home where good people go to die.” The trailer park lives in the Arizona desert within rock throwing distance of Mexico. For fun Weston races tarantula wasps and watches the black helicopters dance along the horizon.
YVONNE NAVARRO lives in southern Arizona, where by day she works on historic Fort Huachuca. She is the author of twenty-two published novels and well over a hundred short stories, and has written about everything from vampires to psychologically disturbed husbands to the end of the world. Her work has won the HWA’s Bram Stoker Award, plus a number of other writing awards. Visit her at www.yvonnenavarro.com or www.facebook.com/yvonne.navarro.001 to keep up with slices of a crazy life that includes her husband, author Weston Ochse, three Great Danes (Goblin, Ghost, and Ghoulie), a people-loving parakeet named BirdZilla, painting, and lots of ice cream, Smarties, and white zinfandel. Her most recent novels are Highborn and Concrete Savior, the first two books in the Dark Redemption Series. Only once in a great while does she fight it out, er, co-write with her husband.
JONATHAN MABERRY is a New York Times best-selling author, multiple Bram Stoker Award winner, and freelancer for Marvel C
omics. His novels include Assassin’s Code, Flesh & Bone, Ghost Road Blues, Dust & Decay, Patient Zero, The Wolfman, and many others. Non-fiction books include Ultimate Jujutsu, The Cryptopedia, Zombie CSU, Wanted Undead or Alive, and others. Jonathan’s award-winning teen novel Rot & Ruin is now in development for film. He’s the editor/co-author of V-Wars, a vampire-themed anthology, and was a featured expert on The History Channel special Zombies: A Living History. Since 1978 he’s sold more than 1200 magazine feature articles, 3000 columns, two plays, greeting cards, song lyrics, and poetry. His comics include Captain America: Hail Hydra, DoomWar, Marvel Zombies Return, and Marvel Universe Vs The Avengers. He teaches the Experimental Writing for Teens class, is the founder of the Writers Coffeehouse, and co-founder of The Liars Club. Jonathan lives in Bucks County, Pennsylvania with his wife, Sara, and their dog, Rosie. www.jonathanmaberry.com
JOE R. LANSDALE is the author of over thirty novels and two hundred short pieces, articles, and stories. He has been awarded The Edgar, The Grinzani Cavour Prize for Literature, nine Bram Stokers, is a Grandmaster of Horror, and a Lifetime Achievement Award recipient from The Horror Writers Association. His work has been made into films, and he is Writer in Residence at Stephen F. Austin University. He is the Grandmaster and Founder of Shen Chuan Martial Arts and has been inducted into both the International and United States Martial Arts Hall of Fame.
ELIZABETH MASSIE is a Bram Stoker Award- and Scribe Award-winning author of horror novels, short horror fiction, media tie-ins, mainstream fiction, historical novels, and non-fiction. More recent works include Desper Hollow (horror novel), Naked, On the Edge (collection of horror short fiction), and Homegrown (mainstream novel). She is the creator of the Skeeryvilletown slew of cartoon zombies, monsters, and other bizarre misfits. In her “spare” time she manages Hand to Hand Vision, a Facebook-based fundraising project she founded to help others during these tough economic times. Massie lives in the Shenandoah Valley of Virginia and shares life and abode with the talented illustrator/artist Cortney Skinner.