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Happy Place Photo by Yaroslav Gerzhedovich
The Busker: A Haunted Melody (A British Dark Story from Jonathan Thomas)

Right from the moment that I first saw him, he somehow evoked a deep sense of foreboding; something malevolent and sinister, and I took an immediate dislike to him. Of course, I can’t say much about him now because he isn’t here anymore, but I'm sure that he had something to do with the whole state of affairs. I think that an explanation is in order.


I work as a trainee bank clerk in the city of Birmingham, having graduated from university in London. I quite like the job; I'd always fancied working in a bank, and my teachers at school repeatedly told me how I had a head for figures.’ Anyway, I'd been working in Birmingham for two months - enough time I might add to get fairly well, accustomed to a city that I'd never come within twenty miles of previously -when I saw him for the first time, one lunch break. The Busker.



Of course, there are lots of buskers in Birmingham — down the markets, by New Street Station, in the shopping centers or on street corners — so the fact that he was there didn't surprise me. However, as I walked past him, the air seemed to grow colder all of a sudden; I caught a mental whiff of the presence that he exuded, which made my skin prickle. Don't get me wrong, he was an ordinary - enough-looking bloke;shortish, rather plump around the waistline, mustache, ruddy complexion, and untidy brown hair. Yet there was something about him which scared me a little.



And then there was the music that he was playing. Previously, I had always thought of buskers as either guitar or mouth-organ playing musicians, conjuring up lively and (to a limited extent) inventive tunes, designed, to capture the attention of passers - by and to liven up the usually drab street surroundings. Yet this busker was playing a flute (I think it was a flute; I know next to nothing about musical instruments, but it was definitely a member of the woodwind family), and he was playing a sombre, haunting melody. If the rest of the people hurrying past were anything like me, the music did anything but liven up the stairway on whose landing he stood.


Quite the opposite, in fact; the melancholy tune echoed up and down the stairs, diminished only slightly in volume by the sound of people bustling past. Come to think of it, the music reminded me of Latin America or the Orient.


As it happens, I only stole a quick glance at him, for I would have appeared rude had I stood and gazed at him. Besides, for a reason that I can now hazard a guess at, I somehow felt an overwhelming urge to leave his presence as soon as possible. Tucking my hands into the pockets of my suit trousers, I hurried on my way, the tune still ringing in my ears.


Strangely enough, the passers-by seemed to like this curious busker's music, for his unzipped canvas bag was always generously smattered with silver coins; it was either that, or he was the object of an unusual compassion. As a result, he was always in his usual place every time I walked that way, on a dingy landing of the steps connecting the shopping center with Station Street. Every day he continued to play his flute with renewed enthusiasm, although his tunes varied little and all of the ones I heard were of a melancholy nature. Indeed, during one Saturday shopping trip, a young girl of about six burst into tears when she passed him, burying her face in her mother's chest. I was a couple of steps behind the woman and her daughter, and I stole a quick glance at the busker. To my surprise, his face remained blank as he concentrated on his music, either unaware of or choosing to ignore the girl whom he had just upset. And I had always thought that buskers were rather friendly people, likely to stop playing and soothe distraught children such as this girl.


Once, not long after, I saw someone attempt to converse with him. A tall, gangling student-type with a receding hairline and a big bony nose dropped a twenty-pence piece into the man’s bag where it tinkled as it landed, indicating that he was doing quite well for himself as usual. The youth nodded at the busker's flute. That's a funny tune. What is it?''


He received no reply. The busker's eyes remained shut as if he was deep in just within sight of the pair; I don't know why, but I was intrigued. ''Play down here often, do you?'' Persisted the youth, his accent distinctly north country.


A couple of seconds passed and stiff the man ignored him. The youth shrugged to himself and went on his way, passing me as he hurried down the stairs. The busker continued playing as if nothing had happened.


This went on for nearly a month. Then, events in Birmingham took a dramatic turn. I picked up the newspaper one morning to find that a teenage girl had been brutally murdered outside the Bull Ring Bus Station. Her butchered corpse still warms, had been discovered shortly after midnight by two students returning from a nightclub. The luckless girl had been completely disemboweled.


A nasty feeling crept into my stomach, taking a firm grip and refusing to let go. The first thing that struck me was how does the corpse had been to the busker’s usual haunt (Forgive the pun.).I tried to shake off the feeling, but somehow I couldn't help suspecting that he had something to do with it. In the subsequent police inquiries, nothing about the killer could be deduced, except that the murder weapon was definitely a knife, and whoever had committed the murder knew how to use it; apparently, several of the policemen who appeared on the scene had thrown up.


Just three days later, a twenty-year-old youth was killed after he fell in front of a bus in New Street. The horrified driver had just taken a right turn into Corporation Street when he saw a boy fall out of a seething throng on the pavement, right under the front wheels. He jammed on the brakes less than a split-second later, but he was still able to the disc em the dull thud above their screeching and felt the tires hit the obstacle in their path. Disembarking, the driver joined the horrified mass on the pavement, staring down the dumb-struck at the boy. A very macabre description had been placed in the Evening Mail (Reading it, I was glad that I hadn't been eating at the time.) , painting a gruesome picture of the youth's body, a huge indentation in its torso where the tires had gone over it. The man's rib cage had been crushed to a pulp, thus, compressing the organs underneath to bursting point.


Needless to say, talk in the local pubs was of little else; two particularly violent deaths in the space of four days, both in the city center. Yet still the busker played his flute as I walked past his eyes always closed and his bag showered with coins. Gradually, however, my overall fear of him spread; as each day went by, I noticed that passers-by began to hurry past him, casting the dad the nervous and apprehensive glance at the man with the mustache, and not stopping to root out any spare money. Mothers bustled curious children past him, hardly daring to look over their shoulders as his sombre music filled the air. . .


I was actually there when it happened. It was Friday, nearly two weeks after the young man had died on a New street. At the end of the week, I always treat myself to a visit to a food outlet during my lunch break; what the hell, it saves me cooking a meal when I get home. This time I had settled for McDonald's, although in the past I had tried a wide variety - Wimpy's, Kentucky Fried Chicken, Deep Pan pizza to name but a few.


I entered at about ten-past-one; it was crowded as usual, and the shortest available line must have been composed of at least six people. However, I had a whole hour to kill, So I was in no hurry; in addition, I think I'm a very patient person. I reached the counter, after not too long await and gave my order to the member of staff in front of me, a short, petite girl whose flowing dark hair was tucked underneath her green company cap. I ordered a McChicken sandwich, regular fries, and a vanilla milkshake; once the food arrived, I took one look at the cowed, unappealing ground floor and headed up the stairs. When I reached the top, I darted over and successfully captured a comer seat previously vacated by a fat gray — haired woman with a wrinkled face and wearing duffle — coat. Sitting down, I tore the cover off the small sachet of salt, sprinkled it over my chips and inserted the red and yellow striped straw into my milkshake, taking a big slurp.


Two minutes passed, during which I had consumed half of the sandwich and a few handfuls of fries. I wiped my mouth and was about to wash the food down with some of the milkshake when I heard a commotion downstairs.


A few people sitting near the top of the stairs threw a casual glance down, but they couldn't have seen as much as their attention soon returned to the food in front of them. Sipping at my milkshake, I wondered whether to wander over and have a look down, but one glance at the handful of people awaiting a table cast this from my mind. As I set down the plastic cup and picked up the half-eaten sandwich, a shrill scream rent the air fire!'


I dropped the sandwich, the mayonnaise in the middle squirting out onto the table surface. By now, there were people screaming downstairs, and my nose had begun to detect the faint odor of smoke. Most of the people upstairs stood up (A few continued to wolf down their food; I can guess what became of them) and turned round, hurrying over to the stairs. Some looked puzzled, while others wore a look of fear. Having been one of the first to reach the stairs, I took a few steps down and stole a glance at the ground door.


At first, my brain simply refused to comprehend the scene my eyes took in. I believe this happens to you sometimes; there are some things that your brain simply disallows. Terrified people were streaming out of the double-doors, away from the roaring flames which were licking the service counter. Some of the harried members of staff were attempting to quell the blaze with fire extinguishers, but evidently having little success as they turned and vaulted over the counter, ending up behind the demented mob trying madly to escape. The air was thick with dense gray smoke, and the terrible screams were punctuated with fits of coughing which varied in intensity.


And then, horror of horrors, the doors jammed. The screams doubled, and most of the rearmost people turned, only to be confronted by an advancing wall of fire. Through the big windows I could see the people on the pavement outside, staring helplessly in horrified fascination at the scene in front of them.


From what I'd read in the papers about previous fires, the smoke is always twice as likely to cause death than the actual flames themselves. Consequently, yanked off my tie and wound it round the lower half of my face so that it covered my mouth and nostrils. Just as I had finished doing this, I heard a muffled, rumbling bang-which I later learned was one of the chip machines, full of boiling fat exploding. A sea of flames roared towards me, rushing forward like an unchecked tide of water and then several screams from behind me reminded me that it was time to get moving.


I darted down the stairs, wincing as the flames grabbed at the right-hand side of my face but not stopping. When I got to the bottom, I threw my arms up over my face and sprinted towards the window, taking a tremendous leap just before I reached it. I fell, hearing the glass shatter and my legs buckled from underneath as I landed...


The next thing I knew was feeling the cold November air on my cheeks and the hard concrete of the pavement underneath my back. In the distance, above the screams, shouts and roaring of the fire, I could hear the sirens of the fire engines.


And that's what happened. I was praised for my heroics and later learned that I had saved a great number of lives, but when I woke up in hospital, with a badly burnt scar on my right cheek and ear, I learned that twenty-two people had died, mainly from asphyxiation. Sorry to leave you in suspense, but I never discovered the cause of the fire; you'll have to guess that one for yourselves.


Yet now comes the most intriguing part of my tale. When I was eventually released from the hospital, I found the busker had vanished; never again did the sound of his flute echoes through that dark and dingy passageway on Station Street. Through some extensive inquiries, I learned that he had disappeared shortly after the McDonald's fire. Disappeared, as they say, never to return.


Now a year later, I am wiser. I have carried out some research in the local library on material which I scoffed at in the past. I've come up with two things. Firstly, I now believe in what are commonly known as 'harbingers of doom-beings from beyond our world whose appearance signifies the forthcoming of some dreadful catastrophe. The history books are littered with references to such beings.



Secondly, I now know the tune that the busker played that used to frighten me. It was used regularly in Ancient Egypt as a lament for the dead.


So I now avoid and fear buskers; yes, even those who stand smiling on street comers or in subways, and cheer people up with their lively tunes.




The tools in the back clanked and rattler as the truck's front tire edged off the road onto the bumpy shoulder. Jeremiah's head nodded, bounced. He jerked straight, arms rigged, snatching the wheel, swaying the truck back onto the highway. His muscles began to twitch uncontrollably. He'd nearly hit a hitchhiker. Someone who looked familiar, too familiar.


He stopped, shifted into reverse, but when he backed to the point where the truck had left the road, the hitcher had disappeared.

Probably figured I'd try again. He drew a steadying breath and wiped away tiny droplets of sweat that had popped out above his lips. He put the truck in first and drove on. Rain streamed down in tinfoil strips as the windshield wipers beat steadily side to side. And soon Jeremiah again felt the monotonous rhythm lulling him toward sleep. He slapped his face, shook his head.

Getting too old for this.He steered the truck into the parking lot of a small grocery store, closed for the holiday. A Santa Claus grinned from the doorway. He punched off the lights, switched off the engine, closed his eyes. And though he'd stopped here simply to catch a nap, without the monotony of the road and the wipers, sleep became impossible.


He twisted out of the seat and stepped into the rear of the truck. Maybe straightening his tool stock would at least get his blood pumping enough to keep him awake until he got the truck home--''after midnight,'' he mumbled bitterly, but the words conjured up a smile. In his mind, Bessie smiled back. She had loved country music, but no artist better than Patsy Cline. And though she couldn't remember the words, she used to sing one song relentlessly, the tune Jeremiah's grumbling had brought to his own lips now--''Walking After Midnight.''


The frigid breath of December whispered in through the door cracks. A half-century of pushing wrenches to service station owners, to hardware store operators, to anyone, to everyone. Jeremiah had worked for three companies, none with a retirement program. Yet Bessie had begged him to retire ten years ago: ''We can live on social security.'' But a man and woman, he argued, can't buy much of a life with peanuts. Still, Bessie pleaded, and finally Jeremiah said okay; he'd give up the road, he'd come home putter. Then Bessie had to go and have that heart attack just two days before he was to give notice.

''Gramma said you were going to quit.''

''I was, baby, but I got no reason now. Living alone ain't much of a life.''

''But you're not alone, Grampa. You have us.''

''On weekends, Missy. I can't live my life on weekends.''

A crescent wrench clinked against pliers in Jeremiah's quivering hands. Bessie had lived her life on weekends.

The rain gradually hardened, grew into sleet that battered the roof. Wind whistled under the doors. Jeremiah cupped his hands around his mouth and blew as he started for the front. He crawled into the seat behind the big wheel and cranked the engine, remembering how Bess used to wait up until he got home, no matter how late. He peered into a night he had not seen the likes of in a good twenty years. Last time the rain had turned to sleet this early in the season this far south, the government had called about his son.

Jeremiah's truck pulled onto the deserted highway, headlight beams driving deep into the mercury slick sleet. Another hour, he'd be home. For the weekend. Clop-clop. The windshield wipers did their job, allowing thin sheets of ice to form only around the edges where the defroster could not make itself useful. The road passed in hypnotic streaks of white.

Clop-clop

''Sarah says you got someone else on your route, Jerry.'' She laughs.

''You believe everything Sarah says?''

''If I did, I'd've left you a long time ago.''

No one laughs. They lie in the darkness until one of them---they never remember which---kisses the other, and they bring their bodies together, caressing, lingering.

Clop-clop.

Jeremiah's head bobbed.

A whisper: ''Jerry.'

He gasped, snatched himself erect and yanked the wheel, bringing the truck weaving center-road. He glanced around, his eyes filling. That voice. He'd heard it a million times in dreams, conjured it up a million times more in memory. But this time---so real.

In the fringe of the headlight beam, someone waved from the ditch. Jeremiah wrenched around for a better look, but the image was gone. A mirage. A senile old man's wish image. He shook his head sadly at his mistake.

First to go's the mind, then the body.

Bess had said that. Used to call him crazy when he'd sneak up behind her in the kitchen and race icy fingers under her dress and clamp his hand to her thigh. She'd scream like a psychotic killer and chase him through the house with spatula in hand, dripping spaghetti sauce down her arm. Then he'd spin around, catch her in a bear hug, and they'd kiss and fall on the couch, tangling, forgetting the meal on the stove. And when they would finally sit down to dinner, he'd laughingly sop up as much as he could hold, all the while saying,

''Charcoal's good for you!''

First to go's the mind. . . It was a joke back then, but hearing and seeing things that just aren't there isn't funny at all. Too distracting, too discomforting. If Jeremiah did't face the inevitable, on one of these late-night, long-route drives he'd find himself. . . .

In the ditch, in waste-high weeds, a man in army fatigues, his hands cupped at his mouth as if holding a harmonica.

''Bill?''

Jeremiah slammed his foot onto the brake pedal, and immediately realized his mistake. Never an accident in his career, and now, the very night his mind starts to go, he destroys his perfect driving record.

The truck broke into a dream-like skid. By the time his body began to respond, the dreamy skid had turned into a nightmare roll. Wrenches clattered and banged from their bins. Jeremiah felt himself rise into darkness. He heard the crash from far away, a tiny sound, a pin dropping. Then gradually, he drifted back, back, could hear the steady rain of sleet on steel, the clop-clop of the windshield wipers, the hiss of water on a hot engine.

Jeremiah raised his head and groaned. Crystals of freezing water dripped in from somewhere above. He touched his forehead, winced, pulled his fingers away. In the dim dashboard light, he could see blood.

''First the mind,'' he mumbled, ''then the driving record.'' He raised up on one arm, got bearings. The truck had come to rest on its side about twenty feet off the road. And for what? A trick of his mind, the image of a man who died twenty years ago in someone else's war.

Jeremiah sat up, bracing himself against the driver's seat. He got to his knees and checked his forehead in the rearview mirror. A superficial cut, more blood than wound.

Clop-clop.

Jeremiah clicked off the ignition. The wipers fell dead. He cut the lights. Sleet sliced against the truck, clung to the frame in freezing fingers. Jeremiah shivered, pulled his coat from the back of the seat and slipped it on.

''You can't drive today. There's ice on the bridges, all over the road. You'll kill yourself.''

''Guess I'm stuck here then.''

She grins, begins unbuttoning his shirt. ''I quess so.''

Jeremiah's teeth began to chatter as he sat there, trying to decide what to do next. If only someone would pass on the highway, but that was unlikely. He hadn't met another car more than an hour.

Weather's going to play havoc with business this winter.

The sleet began to ease as Jeremiah scraped his hand across the windshield and peered into the night. The darkness possessed and odd, metallic glow, and he could see tiny flakes of white intermingling with the waning sleet. Jeremiah's eyes warmed with the sight. He sniffled, wiped his nose with his wrist.

She shudders and snuggles closer.

Her breath is a feather stroke on his neck. The sky is pewter through a window flecked by snowflakes. He thinks she is asleep until her fingers begin a slow walk down his stomach. Her lips tickle his ear. She hums softly, that same old song about walking after midnight. Before the army, Bill sometimes accompanied her singing on harmonica. But today she hums unaccompanied as she slides onto Jeremiah. The snow falls into a silent, gentle drift on their bedroom windowsill.

Jeremiah stood up shakily, his knees tight with age arthritis. Worse every winter. He moved them in a circular motion, loosening up, then climbed onto the shelving to work his way to the rear. Hr flung open the back door, and the wind sang over him---chilling, yes but somehow a relief from the feeling of being trapped inside. He lowered himself to the soggy soil, then pulled his collar tighter. The sleet had stopped completely now. Snowflakes gathered in his hair, settled on his eyebrows. A thin blanket of white had begun to spread on the highway.

He struggled up the bank, slipping once, then started walking in the direction from which he'd driven. He'd passed a couple houses since leaving the grocery, but he he couldn't recall how far back those houses lay. Didn't matter. They were back there. And he needed a phone. Might as well get started. With luck, someone would drive by and give him a ride. Then he'd call for a tow, call the cops, call his boss. That would satisfy all the requirements. So ehat if the last guy yo wreck a truck got canned? So what if that man had been with the company two years longer than Jeremiah?

''What're you supposed to do, drive in the snow? Even the plows won't get through this mess.'' She nuzzles closer and nibbles on his neck. ''And this'll give me a couple of more days with you.''

The phone rings. She groans playfully, answers, ''Helloooo?'' A moment's silence, then she whispers, ''Thank you,''

cradles the receiver and holds him tighter. He feels the warmth of her tears, the mucus she can't stop. ''B-billie's missing''

Two days later, the uniformed men arrive at the door of Jeremiah's daughter-in-law. Jeremiah is on the road, trying to make up sales lost because of the early snow, when Cindy comes to Bessie and tells her that Billie is no longer missing: All that's left of Jeremiah's son is a medal, a flag, a set of dog tags and a body. No one knows what happened to the harmonica that Cindy gave him their first Christmas together, the harmonica he played when Bessie sang. ''Charley probably took it for the gold.''

Jeremiah raised his face to the sky. Snowflakes settled on his brow and melted into tiny streams down his face, mixing with tears to soak the collar off his jacket. The winter wind that had earlier robbed the truck of its warmth had calmed now. Snow settled around him in a soft crackle, a swish. Jeremiah felt as if he could lie down here, draw the white cover around himself and wait until someone, anyone came by.

''So why don't you?'' came a voice from behind.

Jeremiah caught his breath and spun around. When he saw the man, Jeremiah's mouth went slack.

The man wore no jacket, only army-issued camouflage pants, shirt and boots. A Purple Heart dangled from his helmet. The man glanced up, following Jeremiah's stare at the medal. ''Best place for it. I'm a hero you know.''

Jeremiah's eyes glittered in the plae night glow; mucus streamed from his nose.

''Grampa, Grampa!'' The youngest one's killed a thousand Charleys in the back yard. Now his machine gun dangles silently off one shoulder. ''Grampa, I saw Daddy''

Jeremiah folds the newspaper, lays it on the floor. He slides to the edge of the chair and pulls the wide-eyed boy between his knees, his speckled hands on the boys's shoulders. His voice cracks: ''Your mommy already explained about your daddy. You know he won't be coming home.''

The boy twists in the old man's grasp.

''But I saw him, I saw him!''

Jeremiah shakes the boy ''Stop it! Your father's dead, Tommy. He's dead!''

The boy wrenches free, shatters the plastic machine gun against the doorjamb as he flees the room. Jeremiah buries his face in his hands.

''B-billie?''

''In the flesh. . . . well, almost,'' the man replied, chuckling.

Jeremiah swallowed, felt his mouth grow as dry as sandpaper. First to go'S the mind. . . .

The young man in the uniform laughed again. ''Then the body.''

Isn't real! Jut my mins. Jeremiah turned away and started down the road.

First to. . . .

''Dad,'' his son's voice called.

Jeremiah slapped his hands over his ears. His lips trembled. Tears rivered down his face. But he kept walking.

Then softly, pleading: ''How's Cindy? The kids?''

That was all Jeremiah could take. His body began quaking uncontrollably. One more step, he knew he'd collapse. ''Don't y-you know?'' he whispered.

The young man's image shimmered; snowflakes drifted straight through. ''Once, I tried once,'' replied the man. ''How I wish I could let her know. . . .'' The image faded completely.

The old man reached out weakly, croaking, ''Son?''

A second later the young man rematerialized, but his clothing had changed from army camouflage to jeans, a western shirt, a cowboy hat; the way he dressed the day he left home. A harmonica glittered into his hands. He raised it to his lips. But when the young man began to play, Jeremiah heard more than the harmonica's music; he heard the melodious humming of a woman. The he saw her, emerging from the shadows behind the young man.

A lump grew so large in Jeremiah's throat, he was certain he'd choke. His knees wobbled weakly as the woman approached, her arms beckoning. And then he felt those arms surround him. He buried his face in her hair, sucked in her musky aroma, savoring. The flesh of her lips pressed against his neck; her breath fell hot and moist his skin. The harmonica whined softly. And the woman hummed the old song about walking a highway after midnight, lonesome, hoping that somewhere he would be searching for her.

Jeremiah raised his eyes; the young man was gone.

''Bess. . . .''

The woman put a finger to his lips. She took his head in her hands, spreading her fingers like webs, and slowly pulled him down, down, until they were lying on a bed of white, as warm and as soft as their bed at home. A delicate blanket settled over them. And Jeremiah drifted as lightly as a snowflake.

* * * * * * * * * * * * * * *

Sam Posner pulled his sunglasses off and squinted. In sunlight, snow always appeared ten time brighter. He opened the squad car door, stepped into the driveway. Some guy in a tow truck looking for a few extra bucks on Christmas day had nearly run over a old man's body not ten feet from this drive a little past daybreak. The trooper climbed the steps of the house, knocked on the door. A few seconds later, a tiny, gray-haired woman appeared.

Yes, she had heard something during the night. ''Sounded like music, but I guess it was the wind. I looked out, but all I saw was snow.''

Officer Posner thanked the woman for her time and climbed into the squad unit. He backed the car out of the driveway, and, with a sigh, headed for town. Now came the hardest part of the job: informing the-next-of-kin, the old man's widowed daughter-in-law. Maybe the dead man's few personal belongings would soften the moment---a wallet, some change, a pocket watch. And of course, the gold harmonica.


Author C.S. Fugua

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Chris Fuqua has worked as a newspaper reporter, magazine editor, book editor, English tutor, substitute teacher, janitor, respiratory therapy technician, gas station attendant (when such things existed), salesclerk, musician in a Mexican restaurant, writing instructor, and more.. Chris’s work spans a broad spectrum—historical, musical, and social nonfiction, and dark fantasy, literary, and science fiction and poetry—appearing in hundreds of publications worldwide as diverse as Bull Spec, Main Street Rag, Slipstream, Pearl, Bogg, Chiron Review, The Year’s Best Horror Stories, Cemetery Dance, Christian Science Monitor, Honolulu Magazine, Naval History, and The Writer. His published books include Native American Flute Craft ~ Ancient to Modern, The Native American Flute ~ Myth, History, Craft, Trust Walk and Rise Up fiction collections, The Swing: Poems of Fatherhood, Big Daddy’s Fast-Past Gadget, Muscle Shoals ~ The Hit Capital’s Heyday & Beyond, Cancer, White Trash & Southern ~ Collected Poems, and Notes to My Becca.


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It looks like Lincoln. It moves and talks and smiles like Lincoln. But it's a machine. And it has an inevitable date with destiny.


EMILE VARNER CARESSED the worn almost living features with a gentle, tracing finger. ''Soch weariness, sooch grandeur. That sooch a man should die.'' His own worn, tired mouth smiled softly, his tired old eyes lighted momentarily and his back, not quite hunched -but gnome-like in droop, came almost erect. ''But I make you live again.''

Emile's kindly, gentle voice still held distinct traces of the old Bavarian accent, event after forty years. ''Yes, by me you live again.'' His finger touched the eyelid with tenderness. ''In a moment you will open those great eyes that saw so clearly. Sooch wise eyes, yet so shadowed, so tragically sad. Yet they lived to see a country united.''

He reached down and lifted one of the great gnarled hands, studied the knuckled fingers, turned the hand over as laid the hand lightly on the still breast. ''In a moment. . . if he would read a destiny in the palm.

''United by these hands.'' Old Emile Varner sighed and a moment. . . you will. . . breathe.''

''Hey, Pop!'' The young, brash voice behind him startled the old man into sudden shivers. He pivoted slowly on bandy legs to glare at the younger man. What was the boy's name? Jim? John? It didn't really matter. He was just one of the clever young men, electronic experts they called themselves, who were working under Varner. He nodded at the recumbentfigure.

''He looks more like Lincoln than Raymond Massey.''

The irreverence of it struck Emile Varner like a blow. His bent back straightened, his big, slightly over-sized head tossed so that the white hair whipped across his forehead.

''He IS Lincoln! That is the face which looked out over Gettysburg! Those hands rested on the Bible to take the Oath!''

''Sorry, sir.'' The young man really sounded regretful. He turned away from the fading anger in Varner's eyes and stared sown at the recumbent figure. ''Guess I've been working on the meachanics of it too long.'' He peered at the tired, noble face, quiet now in repose. ''He looks---at peace.''

Varner nodded. ''He was a peaceful man. That is his face, it tells us so. His face. Cast from the death mask by Volks. His hands---from the very molds the good doctor took of him. The big, awkward knuckles. Even the lines. . . the tragic, abrupt lifeline. That should have warned him.'' Varner hesitated, smiled almost shyly at the young man. ''Perhaps it did.''

The young technician nodded, sober now. ''I've heard stories. I mean, about his premonitions. Didn't he. . . Oh.'' The young man started. ''Sorry, I forgot. I'm supposed to tell you we're going to activate the face. To time with the tape.'' He grinned at Varner. ''Might be a little startling to see his eyes open and hear him talk if you weren't prepared.''

Emile Varner stepped back, away from the recumbent givant, away from the young man. His own shabby suit and frayed cuffs took on some lustre of dignity from his proudly held head, his suddenly straightened back. ''I' have been prepared for this moment longer than you have lived.'' He hesitated, glanced at the tired, gentle face, speaking softly. '' I will stay with him. When he awakes it is better he sees first someone who loves him.''

The young man stifled an exclamation, managed not to smile at the old man, and nodded. ''Of course, sir. This is your moment.'' He turned away, walking rapidly across the stage, which had been weathererd and aged artfully to simulate the stage of Ford's Theater. He passed the figure of Laura Keene, caught in a half curtsy toward the right hand box. So truly intent on the box was her simulated gaze that he perforce turned back to glance at it himself.

In the bunting-draped box, well forward, sat Mary Todd Lincoln, her curiously stiff curls framing the withering cheeks, her black lace fan held almost coquettishly. Behind her, was the emty space. He could just see the high back of the old rocker where the figure of Lincoln would soon be placed.

To Mary Lincoln's right sat the vapid-faced girl. Alice? The young technician couldn't remember. And behind her, smart in a resplendent uniform, sat Major Rathbone, substitude for the aide who might have been alert enought to prevent. . .

''I'm getting as crackers as Varner,'' the young man told himself. ''Been working too long on this project. That's the ticket. Keep thinking of it as a project, and it won't get to me, like it's gotten to Varner''

But he knew that wasn't quite right. There wouldn't have been any project if it hadn't beenfor Varner, with his intense dedication, his long, often spectacular battle to bring this off. The figure of Lincoln at the unfortunate New York World's Fair---now in Disneyland--- had almost broken the old man, but the project had gone on.

And the Lincoln in Disneyland was good. Good, hell. It was a terrific accomplishment. A masterpiece. He'd spent long weeks studying the meticulous detaik of the figure, the electronic console that controlled it.

But Varner's reproduction of the Ford Theater scene went far beyond that. Seven Figures. The four in the box and Laura Keene in her pin-wheel gown standing in that half curtsy between the plump, dough-faced, overdressed haridan, The Dowager, and the horse-faced, blundering Asa Trenchard. Joe Jefferson? No,not Joe Jefferson. He'd already left the company. Set up his own as Rip van Winkle. If he'd been at the theater that night, John Wilkes Booth wouldn't have been allowed in the house.

The young man shook his head, as if to clear it. ''I'm doing it again. Reliving history, Damn the old man. He's got us so steeped in it we. . . Still, maybe we wouldn't have been so patient with the old boy. . . Kee-rist, this thing takes more programming than a Moon shot.

''And you'd better get with it,'' he told himself, ''or some of that programmmig won't time out.'' He scuttled below the stage, into a brilliantly lit area crammed with electronic gear, long, fat cables reached up through the ceiling to animate the seven figures Of course, the Dowager and the comic were mainly cyclical, a casual bow and then only breathing and slight motion, so they wouldn't look like wax-works. Laura Keene, as befitted the star with her own company---now why had she let Joe Jefferson go?

The young man joined the group around the great console, immersing himself delibetarily in the intricacies of the equipment. This bank controlled Mary Todd Lincoln's timed bow which acknowledged the audience's applause. The vapis girl was to be made to turn twice and speak, or rather titter, at the Major. The Major was a little more complex. He had to stand when the President rose to speak and hold his broad-brimmed hat over his heart during the National Anthem. After all, with the war just over, there'd be the ceremony acknowledging the President in his first relaxation since the Peace Treaty.

Getting the old musical instruments---and men who could play them in the correct tempo---had been a job. Not his, thank goodness. And thank goodness there wasn't much that had to be coordinated with the music. Only the comic to stand at attention along with the major and the President.

The truly complex part came when Lincoln rose to speak. Eye movements to control, facial muscles to flex, the mouth to coordinate, the hands to move in lanky, awkward gestures, the tired swaying of the great, gaunt body so burdened with the cares of a torn and bleeding nation. It would be a miracle if they could have all this complexity meshing in time for the opening perfprmance. Yet he knew they would.

It looked like bedlam now, like confusion confounded, but it would all tie together. The curtain would go up---and Varner would taste his triumph.

Above, on the quiet stage, Emile Varner watched the tired face, cast from the Volk death mask into metal and a plastic so true it seemed like flesh. He waited solemnly, yet with a chest tightening exultation. In a moment. . .

The great eyes opened, blinked, then steadied on Varner's own majestic, wearied features. The lips opened, moved, but no sound came. Varner reached for one of the great, knuckled hands, cradling it in two of his. ''Don't try to speak. Not yet. You're tired. Mister Lincoln. These are terrible times.''

The face of Lincoln softened into a smile and the lips moved again. Suddenly Varner felt the hand open under his, twitch, then close with gentle pressure.

''I am your friend.'' Emile Varner watched the great, soft, baffled eyes close, and movement was stilled.

Below stage the electronics engineer at the console nodded, held up a hand, thumb and forefinger forming a circle of approval. ''All contacts okay.''

A week later the doors opened on the first performance of ''Mister Lincoln at Ford'S Theater,'' to a capacity house, mostly, of course, celebrities who carefully cultivate such premieres on a advice of agents and managements, a large block of the backers and their friends, a few public officials whose main function seems to be attending functions, and a few of Lincoln's ''just people.'' who had been lucky enough to obtain tickets.

It had beeb a triumph for Emile Varner. Even the giddiest starlet had been subdued and awed. Offcials congratulated themselves on for once having attended something that didn't bore them to death, and the backers went away happy, surrounded by groups of vociferously admiring friends.

Of course, there were some who were disappointed that the show hadn't carried on to the assassination, but those critics were few. Some historians attended and argued afterward that Mister Lincoln hadn't said anything like that at Ford's Theater, which he hadn't but Varner and the producers had taken certain license there. The Gettysburg address had seemed appropriate for that moment of ending a war.

Even after the opening night crowd left and the theater was deserted, except for Emile Varner seated far back in a corner, the final ringing words seemed to stir the curtain and sway the last, dimming ligts. . . ''that a government of the people, by the people for the people shall not perish from this earth.''

Emile Varner, tears blurring his eyes, made his way down the center aisle and stopped just below the bunting draped box. He caught at the eye of the stage and looked up ''Thank you, Mister Lincoln.'' He turned and walked down the aisle to the spacious lobby, as he was to do every night after the last performance.

''Mister Lincoln at Ford's Theater'' temporarily swept the latest Moon probe off the front pages of the newspapers and usurped vast numbers of pages in weekly news magazines. Radios talked of it, and television, as much as was permitted, showed portions of the tremendously complex electronic features, but always with rather awed references to Mister Lincoln.

The publicity also triggered any number of new books on Lincoln and his era and revived interest in hundreds of others. Comparisons with the assassination of John F. Kennedy were revived and parallels cited, including the fact that both assassins had been paranoiacs, frustrated men who committed the greates abomination each could conceive to satisfy a shrivelled and warped ego.

Emile Varner was in his usual place that night, weeks later, as the awed and silently admiring audience straggled out.

He waited a moment for the last flicker of lights that signalled the end of the long day. Only a few scattered lights would be left on for the cleaning crew, and he watched them flash mechanically on. Slowly he made his way down the aisle, made his good nigh speech and then dropped down below stage for a final check, as he always did, to be sure that none of the equipment had been left turned on inasvertently.

All was in order. Emile Varner nodded approvingly. His crew was good. He started back up the narrow stairs which opened into the orchestra pit just below the draped box. It was only then that he heard the voices.

Some of the crew remaining late? The cleaning people? No, they wouldn't be in until nearly dawn. Then who. . . ?

Silently, on old legs gone shaky, Emile tiptoed up the last remaining steps and turned toward the stage.

A young man stood there. Just how Emile knew he ws young he couldn't say. Something in the arrogance of the head, the lithe, supple stance of the body, visible despite the short cape. The figure was vaguely familiar, yet he couldn't place it. Shadows from the work lights obscured the face.

The figure moved, darted toward the box, and the voiice, tight with strain and anger, shouted out. ''You can't do this! You're dead! Dead a century! You should be forgotten! I am the martyr! I sacrificed everything---career, love, money, to destroy you! I should be the one they honor! The statues belong to me. The pedestals, the praise, the warmth of human love! You've stolen them from me!''

'' No.'' The tall, gaunt figure rose from the rocking chair and stepped to the front of the box. ''I stole nothing, young man. You stuck in anger, frustration, in some perverted sense of revenge.'' The voice d,ded almost to a whisper, gentle, kindly. ''I bear you no ill will. Not even for the agony I endured from your bullet. Not even for the things I might have done to heal the breach of this tragic war.''

The slender figure took another step, one arm flashing up, a single splash of light along the silver tonque of a dagger. ''You robbed me of honor, for a deed that should have rung down through the ages!'' The young, strained voice went off hysterically. ''For you I died in disgrace, hunted, hiding in a barn, when all the world. . . . ''

The gentle, weary voice of Abraham Lincoln spoke from the box, the magnificent eyes looking down in pity. ''Revenge, my son, is the recourse of small souls. You cannot expect honor for revenge.''

''I can! It is my due! My due, for a noble deed, nobly conceived. . . As Ceasar had his Brutus, as. . . ''

His breath tight in his chest, his limbs leaden,, Emile Varner moved. It seemed as if he moved through heavier air, with difficult, even with pain, but his hand found the revolver he had always carried since those mad days of vengeance back in Germany.

He raised the weapon, stadying ,t on the lip of the stage, aimed at the young man's back, before he spoke. Just one single, crisp, short word.

''Stop!''

The young man whirled, one hand diving under his cape for a derringer. Emile Varner stared at the face, familiar from a thousand picture studies. John Wilkes Booth.

''You can't stop me! This time I shall. . . ''

Emile Varner fired.

The young man staggered, gasped and turned so that he faced the work light. The head tilted far back, the mouth opening ,n a silent scream. Then, as the slender figure slumped, the agonized face went blank.

And changed, softened, grew younger, calmer. The young technician? What was his name? James? John?

''Oh, god! I've made a ghastly mistake!'' Emile Varner tried to clamber to the stage and couldn't quite make it.

The young technician crumpled slowly, rolling until his eyes stared into Varner's. His voice was dying whisper in a mouth that twisted in pain. ''I. . . didn't. . . want to. . . He. . . took over. . . '' The last word trailed off into a faint whisper, a little more than a stirring in the dust.

And hen the figure was dust, old, dessicated, with a faint odor of the tomb. And the dust settled into a tidy outline, leaving nothing but the derringer and a silver glitter of a dagger on the stage.

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