The Mist (12 page)

All of this happened in bare seconds. Then I thrust my torch at the thing. There was the sensation of striking something with no more real substance than a box kite. The next moment the entire creature was blazing. It made a screeching sound and its wings spread; its head jerked and its reddish eyes rolled with what I most sincerely hope was great agony. It took off with a sound like linen bedsheets flapping on a clothesline in a stiff spring breeze. It uttered that rusty shrieking sound again.

Heads turned up to follow its flaming, dying course. I think that nothing in the entire business stands in my memory so strongly as that bird-thing blazing a zigzagging course above the aisles of the Federal Supermarket, dropping charred and smoking bits of itself here and there. It finally crashed into the spaghetti sauces, splattering Ragú and Prince and Prima Salsa everywhere like gouts of blood. It was little more than ash and bone. The smell of its burning was high and sickening. And underlying it like a counterpoint was the thin and acrid stench of the mist, eddying in through the broken place in the glass.

For a moment there was utter silence. We were united in the black wonder of that brightly flaming deathflight. Then someone howled. Others screamed. And from somewhere in the back I could hear my son crying.

A hand grabbed me. It was Bud Brown. His eyes were bulging from their sockets. His lips were drawn back from his false teeth in a snarl. “One of those other things,” he said, and pointed.

One of the bugs had come in through the hole and it now perched on a lawn-food bag, housefly wings buzzing—you could hear them; it sounded like a cheap department-store electric fan—eyes bulging from their stalks. Its pink and noxiously plump body was aspirating rapidly.

I moved toward it. My torch was guttering but not yet out. But Mrs. Reppler, the third-grade teacher, beat me to it. She was maybe fifty-five, maybe sixty, rope-thin. Her body had a tough, dried-out look that always makes me think of beef jerky.

She had a can of Raid in each hand like some crazy gunslinger in an existential comedy. She uttered a snarl of anger that would have done credit to a caveman splitting the skull of an enemy. Holding the pressure cans out at the full length of each arm, she pressed the buttons. A thick spray of insect-killer coated the thing. It went into throes of agony, twisting and turning crazily and at last falling from the bags, bouncing off the body of Tom Smalley—who was dead beyond any doubt or question—and finally landing on the floor. Its wings buzzed madly, but they weren't taking it anywhere; they were too heavily coated with Raid. A few moments later the wings slowed, then stopped. It was dead.

You could hear people crying now. And moaning. The old lady who had been trampled was moaning. And you could hear laughter. The laughter of the damned. Mrs. Reppler stood over her kill, her thin chest rising and falling rapidly.

Hatlen and Miller had found one of those dollies that the stockboys use to trundle cases of things around the store, and together they heaved it atop the lawn-food bags, blocking off the wedge-shaped hole in the glass. As a temporary measure, it was a good one.

Amanda Dumfries came forward like a sleepwalker. In one hand she held a plastic floor bucket. In the other she held a whisk broom, still done up in its see-through wrapping. She bent, her eyes still wide and blank, and swept the dead pink thing—bug, slug, whatever it was—into the bucket. You could hear the crackle of the wrapping on the whisk broom as it brushed the floor. She walked over to the OUT door. There were none of the bugs on it. She opened it a little way and threw the bucket out. It landed on its side and rolled back and forth in ever-decreasing arcs. One of the pink things buzzed out of the night, landed on the floor pail, and began to crawl over it.

Amanda burst into tears. I walked over and put an arm around her shoulders.

At one-thirty the following morning I was sitting with my back against the white enamel side of the meat counter in a semidoze. Billy's head was in my lap. He was solidly asleep. Not far away Amanda Dumfries was sleeping with her head pillowed on someone's jacket.

Not long after the flaming death of the bird-thing, Ollie and I had gone back out to the storage area and had gathered up half a dozen of the pads such as the one I'd covered Billy with earlier. Several people were sleeping on these. We had also brought back several heavy crates of oranges and pears, and four of us working together had been able to swing them to the tops of the lawn-food bags in front of the hole in the glass. The bird-creatures would have a tough time shifting one of those crates; they weighed about ninety pounds each.

But the birds and the buglike things the birds ate weren't the only things out there. There was the tentacled thing that had taken Norm. There was the frayed clothesline to think about. There was the unseen thing that had uttered that low, guttural roar to think about. We had heard sounds like it since—sometimes quite distant—but how far was “distant” through the damping effect of the mist? And sometimes they were close enough to shake the building and make it seem as if the ventricles of your heart had suddenly been loaded up with ice water.

Billy started in my lap and moaned. I brushed his hair and he moaned more loudly. Then he seemed to find sleep's less dangerous waters again. My own doze was broken and I was staring wide awake again. Since dark, I had only managed to sleep about ninety minutes, and that had been dream-haunted. In one of the dream fragments it had been the night before again. Billy and Steffy were standing in front of the picture window, looking out at the black and slate gray waters, out at the silver spinning waterspout that heralded the storm. I tried to get to them, knowing that a strong enough wind could break the window and throw deadly glass darts all the way across the living room. But no matter how I ran, I seemed to get no closer to them. And then a bird rose out of the waterspout, a gigantic scarlet
oiseau de mort
whose prehistoric wingspan darkened the entire lake from west to east. Its beak opened, revealing a maw the size of the Holland Tunnel. And as the bird came to gobble up my wife and son, a low, sinister voice began to whisper over and over again:
The Arrowhead Project…the Arrowhead Project…the Arrowhead Project…

Not that Billy and I were the only ones sleeping poorly. Others screamed in their sleep, and some went on screaming after they woke up. The beer was disappearing from the cooler at a great rate. Buddy Eagleton had restocked it once from out back with no comment. Mike Hatlen told me the Sominex was gone. Not depleted but totally wiped out. He guessed that some people might have taken six or eight bottles.

“There's some Nytol left,” he said. “You want a bottle, David?” I shook my head and thanked him.

And in the last aisle down by Register 5, we had our winos. There were about seven of them, all out-of-staters except for Lou Tattinger, who ran the Pine Tree Car Wash. Lou didn't need any excuse to sniff the cork, as the saying was. The wino brigade was pretty well anesthetized.

Oh yes—there were also six or seven people who had gone crazy.

Crazy isn't the best word; perhaps I just can't think of the proper one. But there were these people who had lapsed into a complete stupor without benefit of beer, wine, or pills. They stared at you with blank and shiny doorknob eyes. The hard cement of reality had come apart in some unimaginable earthquake, and these poor devils had fallen through. In time, some of them might come back. If there was time.

The rest of us had made our own mental compromises, and in some cases I suppose they were fairly odd. Mrs. Reppler, for instance, was convinced the whole thing was a dream—or so she said. And she spoke with some conviction.

I looked over at Amanda. I was developing an uncomfortably strong feeling for her—uncomfortable but not exactly unpleasant. Her eyes were an incredible brilliant green…for a while I had kept an eye on her to see if she was going to take out a pair of contact lenses, but apparently the color was true. I wanted to make love to her. My wife was at home, maybe alive, more probably dead, alone either way, and I loved her; I wanted to get Billy and me back to her more than anything, but I also wanted to screw this lady named Amanda Dumfries. I tried to tell myself it was just the situation we were in, and maybe it was, but that didn't change the wanting.

I dozed in and out, then jerked awake more fully around three. Amanda had shifted into a sort of fetal position, her knees pulled up toward her chest, hands clasped between her thighs. She seemed to be sleeping deeply. Her sweatshirt had pulled up slightly on one side, showing clean white skin. I looked at it and began to get an extremely useless and uncomfortable erection.

I tried to divert my mind to a new track and got thinking about how I had wanted to paint Brent Norton yesterday. No, nothing as important as a painting, but…just sit him on a log with my beer in his hand and sketch his sweaty, tired face and the two wings of his carefully processed hair sticking up untidily in the back. It could have been a good picture. It took me twenty years of living with my father to accept the idea that being good could be good enough.

You know what talent is? The curse of expectation. As a kid you have to deal with that, beat it somehow. If you can write, you think God put you on earth to blow Shakespeare away. Or if you can paint, maybe you think—I did—that God put you on earth to blow your father away.

It turned out I wasn't as good as he was. I kept trying to be for longer than I should have, maybe. I had a show in New York and it did poorly—the art critics beat me over the head with my father. A year later I was supporting myself and Steff with the commercial stuff. She was pregnant and I sat down and talked to myself about it. The result of that conversation was a belief that serious art was always going to be a hobby for me, no more.

I did Golden Girl Shampoo ads—the one where the Girl is standing astride her bike, the one where she's playing Frisbee on the beach, the one where she's standing on the balcony of her apartment with a drink in her hand. I've done short-story illustrations for most of the big slicks, but I broke into that field doing fast illustrations for the stories in the sleazier men's magazines. I've done some movie posters. The money comes in. We keep our heads nicely above water.

I had one final show in Bridgton, just last summer. I showed nine canvases that I had painted in five years, and I sold six of them. The one I absolutely would not sell showed the Federal market, by some queer coincidence. The perspective was from the far end of the parking lot. In my picture, the parking lot was empty except for a line of Campbell's Beans and Franks cans, each one larger than the last as they marched toward the viewer's eye. The last one appeared to be about eight feet tall. The picture was titled
Beans and False Perspective.
A man from California who was a top exec in some company that makes tennis balls and rackets and who knows what other sports equipment seemed to want that picture very badly, and would not take no for an answer in spite of the NFS card tucked into the bottom left-hand corner of the spare wooden frame. He began at six hundred dollars and worked his way up to four thousand. He said he wanted it for his study. I would not let him have it, and he went away sorely puzzled. Even so, he didn't quite give up; he left his card in case I changed my mind.

I could have used the money—that was the year we put the addition on the house and bought the four-wheel-drive—but I just couldn't sell it. I couldn't sell it because I felt it was the best painting I had ever done and I wanted it to look at after someone would ask me, with totally unconscious cruelty, when I was going to do something serious.

Then I happened to show it to Ollie Weeks one day last fall. He asked me if he could photograph it and run it as an ad one week, and that was the end of my own false perspective. Ollie had recognized my painting for what it was, and by doing so, he forced me to recognize it, too. A perfectly good piece of slick commercial art. No more. And, thank God, no less.

I let him do it, and then I called the exec at his home in San Luis Obispo and told him he could have the painting for twenty-five hundred if he still wanted it. He did, and I shipped it UPS to the coast. And since then that voice of disappointed expectation—that cheated child's voice that can never be satisfied with such a mild superlative as good—has fallen pretty much silent. And except for a few rumbles—like the sounds of those unseen creatures somewhere out in the foggy night—it has been pretty much silent ever since. Maybe you can tell me—why should the silencing of that childish, demanding voice seem so much like dying?

Around four o'clock Billy woke up—partially, at least—and looked around with bleary, uncomprehending eyes. “Are we still here?”

“Yeah, honey,” I said. “We are.”

He started to cry with a weak helplessness that was horrible. Amanda woke up and looked at us.

“Hey, kid,” she said, and pulled him gently to her. “Everything is going to look a little better come morning.”

“No,” Billy said. “No it won't. It won't. It won't.”

“Shh,” she said. Her eyes met mine over his head. “Shh, it's past your bedtime.”

“I want my
mother!
”

“Yeah, you do,” Amanda said. “Of course you do.”

Billy squirmed around in her lap until he could look at me. Which he did for some time. And then slept again.