Nightmares And Dreamscapes Part 30

'Sure,' he said. 'And you didn't need to shout at me, Mary. I mean, I was right beside you, and - '

'Clark, do you see those two guys across the street?'

'What two guys?'

She looked back in time to see Top-Hat and Tattoos slipping through the barber-shop doorway. Tattoos glanced back over his shoulder, and although Mary wasn't sure, she thought he tipped her a wink.

'They're just going into the barber shop. See them?'

Clark looked, but only saw a closing door with the sun reflecting eye-watering shards of light from the gla.s.s. 'What about them?'

'They looked familiar to me.'

'Yeah?'

'Yeah. But I find it somehow hard to believe that any of the people I know moved to Rock and Roll Heaven, Oregon, to take up rewarding, high-paying jobs as street-corner hoodlums.'

Clark laughed and took her elbow. 'Come on,' he said, and led her into The Rock-a-Boogie Restaurant.

The Rock-a-Boogie went a fair distance toward allaying Mary's fears. She had expected a greasy spoon, not much different from the dim (and rather dirty) pit-stop in Oakridge where they'd eaten lunch. They entered a sun-filled, agreeable little diner with a funky fifties feel instead: blue-tiled walls; chrome-chased pie case; tidy yellow-oak floor; wooden paddle fans turning lazily overhead. The face of the wall-clock was circled with thin tubes of red and blue neon. Two waitresses in aqua-colored rayon uniforms that looked to Mary like costumes left over from American Graffiti were standing by the stainless-steel pa.s.s-through between the restaurant and the kitchen. One was young - no more than twenty and probably not that - and pretty in a washed-out way. The other, a short woman with a lot of frizzy red hair, had a bra.s.sy look that struck Mary as both harsh and desperate . . . and there was something else about her, as well: for the second time in as many minutes, Mary had the strong sensation that she knew someone in this town.

A bell over the door tinkled as she and Clark entered. The waitresses glanced over. 'Hi, there,' the younger one said. 'Be right with you.'

'Naw; might take awhile,' the redhead disagreed. 'We're awful busy. See?' She swept an arm at the room, deserted as only a small-town restaurant can be as the afternoon balances perfectly between lunch and dinner, and laughed cheerily at her own witticism. Like her voice, the laugh had a husky, splintered quality that Mary a.s.sociated with Scotch and cigarettes. But it's a voice I know, she thought. I'd swear it is.

She turned to Clark and saw he was staring at the waitresses, who had resumed their conversation, as if hypnotized. She had to tug his sleeve to get his attention, then tug it again when he headed for the tables grouped on the left side of the room. She wanted them to sit at the counter. She wanted to get their d.a.m.ned sodas in take-out cups and then blow this joint.

'What is it?' she whispered.

'Nothing,' he said. 'I guess.'

'You looked like you swallowed your tongue, or something.'

'For a second or two it felt like I had,' he said, and before she could ask him to explain, he had diverted to look at the jukebox.

Mary sat down at the counter.

'Be right with you, ma'am,' the younger waitress repeated, and then bent closer to hear something else her whiskey-voiced colleague was saying. Looking at her face, Mary guessed the younger woman wasn't really very interested in what the older one had to say.

'Mary, this is a great juke!' Clark said, sounding delighted. 'It's all fifties stuff! The Moonglows . . . The Five Satins . . . Shep and the Limelites . . . La Vern Baker! Jeez, La Vern Baker singing 'Tweedlee Dee'! I haven't heard that one since I was a kid!'

'Well, save your money. We're just getting take-out drinks, remember?'

'Yeah, yeah.'

He gave the Rock-Ola one last look, blew out an irritated breath, and then joined her at the counter. Mary pulled a menu out of the bracket by the salt and pepper shakers, mostly so she wouldn't have to look at the frown-line between his eyes and the way his lower lip stuck out. Look, he was saying without saying a word (this, she had discovered, was one of the more questionable long-term effects of being married). I won our way through the wilderness while you slept, killed the buffalo, fought the Injuns, brought you safe and sound to this nifty little oasis in the wilderness, and what thanks do I get? You won't even let me play 'Tweedlee Dee' on the jukebox! Never mind, she thought. We'll be gone soon, so never mind.

Good advice. She followed it by turning her full attention to the menu. It harmonized with the rayon uniforms, the neon clock, the juke, and the general decor (which, while admirably subdued, could still only be described as Mid-Century Rebop). The hot dog wasn't a hot dog; it was a Hound Dog. The cheeseburger was a Chubby Checker and the double cheeseburger was a Big Bopper. The specialty of the house was a loaded pizza; the menu promised 'Everything on It But the (Sam) Cooke!'

'Cute,' she said. 'Poppa-ooo-mow-mow, and all that.'

'What?' Clark asked, and she shook her head.

The young waitress came over, taking her order pad out of her ap.r.o.n pocket. She gave them a smile, but Mary thought it was perfunctory; the woman looked both tired and unwell. There was a coldsore perched above her upper lip, and her slightly bloodshot eyes moved restlessly about the room. They touched on everything, it seemed, but her customers.

'Help you folks?'

Clark moved to take the menu from Mary's hand. She held it away from him and said, 'A large Pepsi and a large ginger ale. To go, please.'

'Y'all oughtta try the cherry pie!' the redhead called over in her hoa.r.s.e voice. The younger woman flinched at the sound of it. 'Rick just made it! You gonna think you died and went to heaven!' She grinned at them and placed her hands on her hips. 'Well, y'all are in Heaven, but you know what I mean.'

'Thank you,' Mary said, 'but we're really in a hurry, and - '

'Sure, why not?' Clark said in a musing, distant voice. 'Two pieces of cherry pie.'

Mary kicked his ankle - hard - but Clark didn't seem to notice. He was staring at the redhead again, and now his mouth was hung on a spring. The redhead was clearly aware of his gaze, but she didn't seem to mind. She reached up with one hand and lazily fluffed her improbable hair.

'Two sodas to go, two pieces of pie for here,' the young waitress said. She gave them another nervous smile while her restless eyes examined Mary's wedding ring, the sugar shaker, one of the overhead fans. 'You want that pie la mode?' She bent and put two napkins and two forks on the counter.

'Y - ' Clark began, and Mary overrode him firmly and quickly. 'No.'

The chrome pie case was behind the far end of the counter. As soon as the waitress walked away in that direction, Mary leaned over and hissed: 'Why are you doing this to me, Clark? You know I want to get out of here!'

'That waitress. The redhead. Is she - '

'And stop staring at her!' Mary whispered fiercely. 'You look like a kid trying to peek up some girl's skirt in study hall!'

He pulled his eyes away . . . but with an effort. 'Is she the spit-image of Janis Joplin, or am I crazy?'

Startled, Mary cast another glance at the redhead. She had turned away slightly to speak to the short-order cook through the pa.s.s-through, but Mary could still see at least two-thirds of her face, and that was enough. She felt an almost audible click in her head as she superimposed the face of the redhead over the face on record alb.u.ms she still owned - vinyl alb.u.ms pressed in a year when n.o.body owned Sony Walkmen and the concept of the compact disc would have seemed like science fiction, record alb.u.ms now packed away in cardboard boxes from the neighborhood liquor mart and stowed in some dusty attic alcove; record alb.u.ms with names like Big Brother and the Holding Company, Cheap Thrills, and Pearl. And the face of Janis Joplin - that sweet, homely face, which had grown old and harsh and wounded far too soon. Clark was right; this woman's face was the spitting image of the face on those old alb.u.ms.

Except it was more than the face, and Mary felt fear swarm into her chest, making her heart feel suddenly light and stuttery and dangerous.

It was the voice.

In the ear of her memory she heard Janis's chilling, spiraling howl at the beginning of 'Piece of My Heart.' She laid that bluesy, boozy shout over the redhead's Scotch-and-Marlboros voice, just as she had laid one face over the other, and knew that if the waitress began to sing that song, her voice would be identical to the voice of the dead girl from Texas.

Because she is the dead girl from Texas. Congratulations, Mary - you had to wait until you were thirty-two, but you've finally made the grade; you've finally seen your first ghost.

She tried to dispute the idea, tried to suggest to herself that a combination of factors, not the least of them being the stress of getting lost, had caused her to make too much of a chance resemblance, but these rational thoughts had no chance against the dead certainty in her guts: she was seeing a ghost.

Life within her body underwent a strange and sudden sea-change. Her heart sped up from a beat to a sprint; it felt like a pumped-up runner bursting out of the blocks in an Olympic heat. Adrenaline dumped, simultaneously tightening her stomach and heating her diaphragm like a swallow of brandy. She could feel sweat in her armpits and moisture at her temples. Most amazing of all was the way color seemed to pour into the world, making everything - the neon around the clock-face, the stainless-steel pa.s.s-through to the kitchen, the sprays of revolving color behind the juke's facade - seem simultaneously unreal and too real. She could hear the fans paddling the air overhead, a low, rhythmic sound like a hand stroking silk, and smell the aroma of old fried meat rising from the unseen grill in the next room. And at the same time, she suddenly felt herself on the edge of losing her balance on the stool and swooning to the floor in a dead faint.

Get hold of yourself, woman! she told herself frantically. You're having a panic attack, that's all - no ghosts, no goblins, no demons, just a good old-fas.h.i.+oned whole-body panic attack, you've had them before, at the start of big exams in college, the first day of teaching at school, and that time before you had to speak to the PTA. You know what it is and you can deal with it. No one's going to do any fainting around here, so just get hold of yourself, do you hear me?

She crossed her toes inside her low-topped sneakers and squeezed them as hard as she could, concentrating on the sensation, using it in an effort to draw herself back to reality and away from that too-bright place she knew was the threshold of a faint.

'Honey?' Clark's voice, from far away. 'You all right?'

'Yes, fine.' Her voice was also coming from far away . . . but she knew it was closer than it would have been if she'd tried to speak even fifteen seconds ago. Still pressing her crossed toes tightly together, she picked up the napkin the waitress had left, wanting to feel its texture - it was another connection to the world and another way to break the panicky, irrational (it was irrational, wasn't it? surely it was) feeling which had gripped her so strongly. She raised it toward her face, meaning to wipe her brow with it, and saw there was something written on the underside in ghostly pencil strokes that had torn the fragile paper into little puffs. Mary read this message, printed in jagged capital letters: GET OUT WHILE YOU STILL CAN.

'Mare? What is it?'

The waitress with the coldsore and the restless, scared eyes was coming back with their pie. Mary dropped the napkin into her lap. 'Nothing,' she said calmly. As the waitress set the plates in front of them, Mary forced herself to catch the girl's eyes with her own. 'Thank you,' she said.

'Don't mention it,' the girl mumbled, looking directly at Mary for only a moment before her eyes began to skate aimlessly around the room again.

'Changed your mind about the pie, I see,' her husband was saying in his most infuriatingly indulgent Clark-knows-best voice. Women! this tone said. Gosh, aren't they something? Sometimes just leading them to the waterhole isn't enough - you gotta hold their heads down to get em started. All part of the job. It isn't easy being a man, but I do my goldurn best.

'Well, it looks awfully good,' she said, marveling at the even tone of her voice. She smiled at him brightly, aware that the redhead who looked like Janis Joplin was keeping an eye on them.

'I can't get over how much she looks like - ' Clark began, and this time Mary kicked his ankle as hard as she could, no fooling around. He drew in a hurt, hissing breath, eyes popping wide, but before he could say anything, she shoved the napkin with its penciled message into his hand.

He bent his head. Looked at it. And Mary found herself praying - really, really praying - for the first time in perhaps twenty years. Please, G.o.d, make him see it's not a joke. Make him see it's not a joke became that woman doesn't just look like Janis Joplin, that woman is Janis Joplin, and I've got a horrible feeling about this town, a really horrible feeling.

He raised his head and her heart sank. There was confusion on his face, and exasperation, but nothing else. He opened his mouth to speak . . . and it went right on opening until it looked as if someone had removed the pins from the place where his jaws connected.

Mary turned in the direction of his gaze. The short-order cook, dressed in immaculate whites and wearing a little paper cap c.o.c.ked over one eye, had come out of the kitchen and was leaning against the tiled wall with his arms folded across his chest. He was talking to the redhead while the younger waitress stood by, watching them with a combination of terror and weariness.

If she doesn't get out of here soon, it'll just be weariness, Mary thought. Or maybe apathy.

The cook was almost impossibly handsome - so handsome that Mary found herself unable to accurately a.s.sess his age. Between thirty-five and forty-five, probably, but that was the best she could do. Like the redhead, he looked familiar. He glanced up at them, disclosing a pair of wide-set blue eyes fringed with gorgeous thick lashes, and smiled briefly at them before returning his attention to the redhead. He said something that made her caw raucous laughter.

'My G.o.d, that's Rick Nelson,' Clark whispered. 'It can't be, it's impossible, he died in a plane crash six or seven years ago, but it is.'

Mary opened her mouth to say he must be mistaken, ready to brand such an idea ludicrous even though she herself now found it impossible to believe that the redheaded waitress was anyone but the years-dead blues shouter Janis Joplin. Before she could say anything, that click - the one which turned vague resemblance into positive identification - came again. Clark had been able to put the name to the face first because Clark was nine years older, Clark had been listening to the radio and watching American Bandstand back when Rick Nelson had been Ricky Nelson and songs like 'Be-Bop Baby' and 'Lonesome Town' were happening hits, not just dusty artifacts restricted to the golden oldie stations which catered to the now-graying baby boomers. Clark saw it first, but now that he had pointed it out to her, she could not unsee it.

What had the redheaded waitress said? Y'all oughtta try the cherry pie! Rick just made it!

There, not twenty feet away, the fatal plane crash victim was telling a joke - probably a dirty one, from the looks on their faces - to the fatal drug OD.

The redhead threw back her head and bellowed her rusty laugh at the ceiling again. The cook smiled, the dimples at the corners of his full lips deepening prettily. And the younger waitress, the one with the coldsore and the haunted eyes, glanced over at Clark and Mary, as if to ask Are you watching this? Are you seeing this?

Clark was still staring at the cook and the waitress with that alarming expression of dazed knowledge, his face so long and drawn that it looked like something glimpsed in a funhouse mirror.

They'll see that, if they haven't already, Mary thought, and we'll lose any chance we still have of getting out of this nightmare. I think you better take charge of this situation, kiddo, and quick. The question is, what are you going to do?

She reached for his hand, meaning to grab it and squeeze it, then decided that wouldn't do enough to alter his slack-jawed expression. She reached further and squeezed his b.a.l.l.s instead . . . as hard as she dared. Clark jerked as if someone had zapped him with a laser and swung toward her so fast he almost fell off his stool.

. 'I left my wallet in the car,' she said. Her voice sounded -Brittle and too loud in her own ears. 'Would you get it for me? Clark?'

She looked at him, lips smiling, eyes locked on his with complete concentration. She had read, probably in some s.h.i.+t-intensive woman's magazine while waiting to get her hair done, that when you lived with the same man for ten or twenty years, you forged a low-grade telepathic link with your partner. This link, the article went on to suggest, came in mighty handy when your hubby was bringing the boss home to dinner without phoning ahead or when you wanted him to bring a bottle of Amaretto from the liquor store and a carton of whipping cream from the supermarket. Now she tried - tried with all her might - to send a far more important message.

Go, Clark. Please go. I'll give you ten seconds, and then come on the run. And if you're not in the driver's seat with the key in the ignition, I have a feeling we could be seriously f.u.c.ked here.

And at the same time, a deeper Mary was saying timidly: This is all a dream, isn't it? I mean . . . it is, isn't it?

Clark was looking at her carefully, his eyes watering from the tweak she had given him . . . but at least he wasn't complaining about it. His eyes s.h.i.+fted to the redhead and the short-order cook for a moment, saw they were still deep in their own conversation (now she appeared to be the one who was telling a joke), and then s.h.i.+fted back to her.

'It might have slid under the seat,' she said in her too-loud, too-brittle voice before he could reply. 'It's the red one.'

After another moment of silence - one that seemed to last forever - Clark nodded slightly. 'Okay,' he said, and she could have blessed him for his nicely normal tone, 'but no fair stealing my pie while I'm gone.'

'Just get back before I finish mine and you'll be okay,' she said, and tucked a forkful of cherry pie into her mouth. It had absolutely no taste at all to her, but she smiled. G.o.d, yes. Smiled like the Miss New York Apple Queen she had once been.

Clark started to get off his stool, and then, from somewhere outside, came a series of amplified guitar chops - not chords but only open strums. Clark jerked, and Mary shot out one hand to clutch his arm. Her heart, which had been slowing down, broke into that nasty, scary sprint again.

The redhead and the cook - even the younger waitress, who, thankfully, didn't look like anyone famous - glanced casually toward the plate-gla.s.s 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 G.o.dlike 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: I 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 a.s.s!

The bell jingled and the door opened as Clark reached for the k.n.o.b, and two more dead Texans came in. The one wearing the dark gla.s.ses 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 gla.s.ses 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 suns.h.i.+ne.

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 gla.s.ses 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 b.u.mpkin, 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 gla.s.ses. '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.