Quarter before midnight, like on every evening except the Sabbath or when it's storming or when my rheumatism gets to paining too bad, me and Billy Bob went down to the Chigger Mountain railroad tunnel to wait for the night freight from St. Louis. This here was a fine summer evening, with a big old fat yellow moon hung above the pines on Hankers Ridge and mockingbirds and cicadas and toads making a soft ruckus. Nights like this, I have me a good feeling, hopeful, and I know Billy Bob does too.
They's a bog hollow on the near side of the tunnel opening, and beside it a woody slope, not too steep. Halfway down the slope is a big catalpa tree, and that was where we always set, side by side with our backs up against the trunk.
So we come on down to there, me hobbling some with my cane and Billy Bob holding onto my arm. That moon was so bright you could see the melons lying in Ferdie Johnson's patch over on the left, and the rail tracks had a sleek oiled look coming out of the tunnel mouth and leading off toward the Sabreville yards a mile up the line. On the far side of the tracks, the woods and the rundown shacks that used to be a hobo jungle before the county sheriff closed it off thirty years back had them a silvery cast, like they was all coated in winter frost.
We set down under the catalpa tree and I leaned my head back to catch my wind. Billy Bob said, "Granpa, you feeling right?"
"Fine, boy."
"Rheumatism ain't started paining you?"
"Not a bit."
He give me a grin. "Got a little surprise for you."
"The hell you do."
"Fresh plug of blackstrap," he said. He come out of his pocket with it. "Mr. Cotter got him in a shipment just today down at his store."
I was some pleased. But I said, "Now you hadn't ought to go spending your money on me, Billy Bob."
"Got nobody else I'd rather spend it on."
I took the plug and unwrapped it and had me a chew.
Old man like me ain't got many pleasures left, but fresh blackstrap's one; good corn's another. Billy Bob gets us all the corn we need from Ben Logan's boys. They got a pretty good sized still up on Hankers Ridge, and their corn is the best in this part of the hills. Not that either of us is a drinking man, now. A little touch after supper and on special days is all. I never did hold with drinking too much, or doing anything too much, and I taught Billy Bob the same.
He's a good boy. Man couldn't ask for a better grandson. But I raised him that way—in my own image, you might say—after both my own son Rufus and Billy Bob's ma got taken from us in 1947.I reckon I done a right job of it, and I couldn't be less proud of him than I was of his pa, or love him no less, either.
Well, we set there and I worked on the chew of blackstrap and had a spit every now and then, and neither of us said much. Pretty soon the first whistle come, way off on the other side of Chigger Mountain. Billy Bob cocked his head and said, "She's right on schedule."
"Mostly is," I said, "this time of year."
That sad lonesome hungry ache started up in me again—what my daddy used to call the "sweet fever." He was a railroad man, and I grew up around trains and spent a goodly part of my early years at the roundhouse in the Sabreville yards. Once, when I was ten, he let me take the throttle of the big 2-8-0 Mogul steam locomotive on his highballing run to Eulalia, and I can't recollect no more finer experience in my whole life. Later on I worked as a callboy, and then as a fireman on a 2-10-4, and put in some time as a yard tender engineer, and I expect I'd have gone on in railroading if it hadn't been for the Depression and getting myself married and having Rufus. My daddy's short-line company folded up in 1931, and half a dozen others too, and wasn't no work for either of us in Sabreville or Eulalia or anywheres else on the iron. That squeezed the will right out of him, and he took to ailing, and I had to accept a job on Mr. John Barnett's truck farm to support him and the rest of my family. Was my intention to go back into railroading, but the Depression dragged on, and my daddy died, and a year later my wife Amanda took sick and passed on, and by the time the war come it was just too late.
But Rufus got him the sweet fever too, and took a switchman's job in the Sabrevile yards, and worked there right up until the night he died. Billy Bob was only three then; his own sweet fever comes most purely from me and what I taught him. Ain't no doubt trains been a major part of all our lives, good and bad, and ain't no doubt neither they get into a man's blood and maybe change him, too, in one way and another. I reckon they do.
The whistle come again, closer now, and I judged the St. Louis freight was just about to enter the tunnel on the other side of the mountain. You could hear the big wheels singing on the track, and if you listened close you could just about hear the banging of couplings and the hiss of air brakes as the engineer throttled down for the curve. The tunnel don't run straight through Chigger Mountain; she comes in from the north and angles to the east, so that a big freight like the St. Louis got to cut back to quarter speed coming through.
When she entered the tunnel, the tracks down below seemed to shimmy, and you could feel the vibration clear up where we was sitting under the catalpa tree. Billy Bob stood himself up and peered down toward the black tunnel mouth like a bird dog on a point. The whistle come again, and once more, from inside the tunnel, sounding hollow and miseried now. Every time I heard it like that, I thought of a body trapped and hurting and crying out for help that wouldn't come in the empty hours of the night. I swallowed and shifted the cud of blackstrap and worked up a spit to keep my mouth from drying. The sweet fever feeling was strong in my stomach.
The blackness around the tunnel opening commenced to lighten, and got brighter and brighter until the long white glow from the locomotive's headlamp spilled out onto the tracks beyond. Then she come through into my sight, her light shining like a giant's eye, and the engineer give another tug on the whistle, and the sound of her was a clattering rumble as loud to my ears as a mountain rockslide. But she wasn't moving fast, just kind of easing along, pulling herself out of that tunnel like a night crawler out of a mound of earth.
The locomotive clacked on past, and me and Billy Bob watched her string slide along in front of us. Flats, boxcars, three tankers in a row, more flats loaded down with pine logs big around as a privy, a refrigerator car, five coal gondolas, another link of box cars. Fifty in the string already, I thought. She won't be dragging more than sixty, sixty-five. . . .
Billy Bob said suddenly, "Granpa, look yonder!"
He had his arm up, pointing. My eyes ain't so good no more, and it took me a couple of seconds to follow his point, over on our left and down at the door of the third boxcar in the last link. It was sliding open, and clear in the moonlight I saw a man's head come out, then his shoulders.
"It's a floater, Granpa," Billy Bob said, excited. "He's gonna jump. Look at him holding there—he's gonna jump."
I spit into the grass. "Help me up, boy."
He got a hand under my arm and lifted me up and held me until I was steady on my cane. Down there at the door of the boxcar, the floater was looking both ways along the string of cars and down at the ground beside the tracks. That ground was soft loam, and the train was going slow enough that there wasn't much chance he would hurt himself jumping off. He come to that same idea, and as soon as he did he flung himself off the car with his arms spread out and his hair and coattails flying in the slipstream. I saw him land solid and go down and roll over once. Then he knelt there, shaking his head a little, looking around.
Well, he was the first floater we'd seen in seven months. The yard crews seal up the cars nowadays, and they ain't many ride the rails anyhow, even down in our part of the country. But every now and then a floater wants to ride bad enough to break a seal, or hides himself in a gondola or on a loaded flat. Kids, old-time hoboes, wanted men. They's still a few.
And some of 'em get off right down where this one had, because they know the St. Louis freight stops in Sabreville and they's yardmen there that check the string, or because they see the rundown shacks of the old hobo jungle or Ferdie Johnson
's melon patch. Man rides a freight long enough, no provisions, he gets mighty hungry; the sight of a melon patch like Ferdie's is plenty enough to make him jump off.
"Billy Bob," I said.
"Yes, Granpa. You wait easy now."
He went off along the slope, running. I watched the floater, and he come up on his feet and got himself into a clump of bushes alongside the tracks to wait for the caboose to pass so's he wouldn't be seen. Pretty soon the last of the cars left the tunnel, and then the caboose with a signalman holding a red-eye lantern out on the platform. When she was down the tracks and just about beyond my sight, the floater showed himself again and had him another look around. Then, sure enough, he made straight for the melon patch.
Once he got into it I couldn't see him, because he was in close to the woods at the edge of the slope. I couldn't see Billy Bob neither. The whistle sounded one final time, mournful, as the lights of the caboose disappeared, and a chill come to my neck and set there like a cold, dead hand. I closed my eyes and listened to the last singing of the wheels fade away.
It weren't long before I heard footfalls on the slope coming near, then the angry sound of a stranger's voice, but I kept my eyes shut until they walked up close and Billy Bob said, "Granpa." When I opened 'em the floater was standing three feet in front of me, white face shining in the moonlight—scared face, angry face, evil face.
"What the hell is this?" he said. "What you want with me?"
"Give me your gun, Billy Bob," I said.
He did it, and I held her tight and lifted the barrel. The ache in my stomach was so strong my knees felt weak and I could scarcely breathe. But my hand was steady.
The floater's eyes come wide open and he backed off a step. "Hey," he said, "hey, you can't—"
I shot him twice.
He fell over and rolled some and come up on his back. They wasn't no doubt he was dead, so I give the gun back to Billy Bob and he put it away in his belt. "All right, boy," I said.
Billy Bob nodded and went over and hoisted the dead floater onto his shoulder. I watched him trudge off toward the bog hollow, and in my mind I could hear the train whistle as she'd sounded from inside the tunnel. I thought again, as I had so many times, that it was the way my boy Rufus and Billy Bob's ma must have sounded that night in 1947, when the two floaters from the hobo jungle broke into their home and raped her and shot Rufus to death. She lived just long enough to tell us about the floaters, but they was never caught. So it was up to me, and then up to me and Billy Bob when he come of age.
Well, it ain't like it once was, and that saddens me. But they's still a few that ride the rails, still a few take it into their heads to jump off down there when the St. Louis freight slows coming through the Chigger Mountain tunnel.
Oh my yes, they'll always be a few for me and Billy Bob and the sweet fever inside us both.
That old standby, the ghost story, is one of the most difficult types to write effectively. The number of variations is finite and the best of them have been used—in some cases, used to, urn, death. The only ones I've perpetrated with even the smallest claim to originality are "Peekaboo" (f you choose to consider same a ghost story; there is at least one other interpretation) and "Deathlove." You may be interested to know that another, less effective version of this story exists—a straight crime yarn without the supernatural twist, called "ForLove." Some writers just can't help being shameless self-plagiarists. Me and Ray Chandler, among others.
Deathlove
I sit hunched forward in the taxi as it rushes through the dark, empty streets. It will not be long now, Judith, my love; a few hours, then a few short weeks until you and I are one. Forever.
And the truck comes out of nowhere
And we come into the quiet residential area six blocks from Lake Industrial Park. I tell the driver to stop at the next corner. A moment later I stand alone in the darkness. The night wind is cold; I turn up the collar on my overcoat as I watch the taxi's taillights fade and disappear. Then I walk rapidly toward the park, my hand touching the gun in my coat pocket.
The industrial development is deserted when I arrive; there is no sign of the night security patrols which make periodic checks of the area. I pause to look at my watch. Just past nine. Then I make my way to the squat stone building that houses McAnally's firm, Ajax Plumbing Supply. A light burns in the office, behind blind-covered windows—the only light in the park. As always on Friday evenings, McAnally is working late and alone.
I move to the rear of the building, to the shadowed parking area. McAnally's car is the only one there. I know it well; I have seen it every day for the past four years, in the driveway of his house across the street from my own, and I have written the insurance policy on it.
I allow myself a small smile as I walk to the base of the high fence that rings the supply yard, blend into the blackness there. All is progressing as I've planned. I'm confident that there will be no problems of any kind.
This isn't right, the truck
As I wait I concentrate on the visual image of Judith that lingers in my mind. Long auburn hair, gentle green eyes, the smooth sensuous lines of her body. Judith smiling, Judith laughing, Judith in all her moods from pensive to gay to kittenish. Every night I dream of her. Every night I long to hold her, touch her, possess her. There is no love greater than mine for Judith; it has become the one and only purpose of my existence.
"Soon now, darling," I whisper in the cold stillness. "Soon . . ."
I do not have long to wait. McAnally, punctual as always, leaves the building at exactly nine-thirty. I tense in anticipation as he crosses the darkened parking area. He reaches the car, but I wait until he unlocks it before I step out and approach him.
He hears my footsteps and glances up, startled. I stop in front of him.
"Hello, Fred," I say.
Recognition smooths his nervous frown. "Why . . . hello, Martin. You gave me a jolt, coming out of the dark like that. What're you doing here, of all places?"
"Waiting for you."
"What on earth for?"
"Because I'm going to kill you."
He stares at me incredulously. "What did you say?"
"I'm going to kill you, Fred."
"Hey, that's not funny. Are you drunk?"
I take out the gun. "Now do you believe me?"
For the first time, his eyes show fear. "Martin, for God's sake. What's the matter with you? Why would you want to kill me?"
"For love," I say.
"For . . . what?"
"Love, pure and simple love. You're in the way, Fred. You stand between Judith and me."
"You and . . . Judith?"
I smile at him.
"No!" McAnally says. He shakes his head in disbelief. "It's not true. My wife loves me, she's devoted to me."
"Is she?"
"Of course she is! She'd never be a party to—"
"To what I'm planning? Are you really so sure?"
Another head shake. He isn't sure, not any longer.
I am enjoying this; I smile again. "Have you ever wondered about the perfect murder? Whether or not it's possible? I have, and I believe it is. Soon now I'm going to prove it."
"This is . . . insane. You're insane, Martin!"
"Not at all. I'm merely in love. Of course I do have my practical side. There's the hundred-thousand-dollar double indemnity policy on your life with my company. Once Judith and I are married, after a decent interval of mourning, it will take care of our needs nicely."
"You can't do this," McAnally says. "I won't let you do it!" And he makes a sudden jump forward, clawing at the gun.
But I've expected this, even anticipated how clumsy his fear makes him. I move aside easily, bring the barrel down on the side of his head. He falls moaning to the pavement. I hit him again, then finish opening the car door and drag him onto the floor in back I slip in under the wheel.
There is something wrong with all this
As I drive out of Lake Industrial I am watchful for one of th
e night patrols, but I see no one. Observing the speed limit, I follow the route that McAnally habitually takes home—a route that includes a one-mile stretch through Old Mill Canyon. The canyon road is little used since the construction of a bypassing freeway; McAnally takes it because it is the shortest way to the suburban development where we both live.
At the top of the canyon road is a sharp curve, with a bluff wall on the left and a wide shoulder with a guardrail along its outer edge. Beyond the rail is a two-hundred-foot drop into the canyon below. There are no lights behind me as I take McAnally's car to the crest. From there I can see for a quarter mile or so past the curve. That part of the road is also deserted.
I stop the car a hundred feet below the shoulder, take a few deep breaths before I press down hard on the accelerator and twist the wheel until the car is headed straight for the guardrail. While the car is still on the road I brake sharply; the tires burn and shriek on the asphalt, providing the skid marks that will confirm McAnally's death as a tragic accident.
The truck
I manage to fight the car to a halt a dozen feet from the guardrail. I rub sweat from my forehead, reverse to the road again. When I've set the emergency brake, I get out to make certain we're still alone. Then I pull McAnally from the rear floor, prop him behind the wheel, wedge his foot against the accelerator pedal. The engine roars and the car begins to rock. I grasp the release lever for the emergency brake, prepare myself, jerk the brake off, and fling my body out of the way.
The car hurtles forward. An edge of the open driver's door slaps against my hip, knocking me down, but I'm not hurt. McAnally's car crashes into the guardrail, splintering it, and goes through; it seems to hang in space for a long moment, amid a shower of wood fragments, then plunges downward. The darkness is filled with the thunderous rending of metal as the machine bounces and rolls into the canyon.
I go to the edge and look over. There is no fire, but I can make out the shape of the wreckage far below. I say aloud, "I'm sorry, Fred. It's not that I hated you, or even disliked you. It's just that you were in the way."
Night Freight Page 19