Let's All Kill Constance - Bradbury Ray Douglas - Страница 14

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I had spoken aloud.

"When was this theater built?" I murmured.

The old waxwork let loose a forty-day flood: "1921, one of the first. There was nothing here, some palm trees, farmhouses, cottages, a dirt main street, little bungalows built to lure Doug Fairbanks, Lillian Gish, Mary Pickford. Radio was just a crystal matchbox with earphones. Nobody could hear the future on that. We opened big. People walked or drove from Melrose north. Saturday nights there were veritable desert caravans of movie fanatics. The graveyard hadn't yet begun at Gower and Santa Monica. It filled up with Valentino's ruptured appendix in '26. At Grauman's opening night, Louis B. Mayer arrived from the Selig Zoo in Lincoln Park. That's where MGM got their lion. Mean, but no teeth. Thirty dancing girls. Will Rogers spun rope. Trixie Friganza sang her famous 'I Don't Care' and wound up an extra in a Swanson film, 1934. Go down, stick your nose in the old basement dressing rooms, you'll find leftover underwear from those flappers who died for love of Lowell Sherman. Dapper guy with mustache, cancer got him, '34. You listening?"

"Clyde Rustler," I blurted.

"Holy Jesus! Nobody knows him! See way up, that old projection room? They buried him there alive in '29 when they built the new projection room on the second balcony."

I stared up into phantoms of mist, rain and Shangri-la snow seeking the High Lama.

My shadow friend said: "No elevator. Two hundred steps!"

A long climb, with no Sherpas, up to a middle lobby and a mezzanine and then another balcony and another after that amid three thousand seats. How do you please three thousand customers? I wondered. How? If eight-year-old boys didn't pee three times during your film, you had it made!

I climbed.

I stopped halfway to sit, panting, suddenly ancient instead of halfway new.

I REACHED the back wall of Mount Everest and tapped on the old projection-room door.

"Is that who I think it is?" a terrified voice cried.

"No," I said quietly, "just me. Back for one last matinee after forty years."

That was a stroke of genius; upchucking my past.

The terrified voice simmered down.

"What's the password?"

It came right off my tongue, a boy's voice.

"Tom Mix and his horse, Tony. Hoot Gibson. Ken May-nard. Bob Steele. Helen Twelvetrees. Vilma Banky…"

"That'll do."

It was a long while before I heard a giant spider brush the door panel. The door whined. A silver shadow leaned out, a living metaphor of the black-and-white phantoms I had seen flickering across the screen a lifetime ago.

"No one ever comes up here," said this old, old man.

"No one?"

"No one ever knocks on my door," said the man with silver hair and silver face and silver clothes, bleached out by seventy years of living under a rock in a high place and gazing down at unreality ten thousand times. "No one knows I'm here. Not even me."

"You're here. You're Clyde Rustler."

"Am I?" For a moment I thought he might body-search his suspenders and sleeve garters.

"Who are you?" He poked his face like a turtle's from its shell.

I said my name.

"Never heard of you." He glanced down at the empty screen. "You one of them?"

"The dead stars?"

"They sometimes climb up. Fairbanks came last night."

"Zorro, D'Artagnan, Robin Hood? He knocked at your door?"

"Scratched. Being dead has its problems. You coming in or out?"

I stepped in quickly before he could change his mind.

The film projectors stood facing emptiness in a room that looked like a Chung King burial chamber. It smelled of dust and sand and acrid celluloid. There was only one chair between the projectors. As he'd said, no one ever came to visit.

I stared at the crowded walls. There must've been three dozen pictures nailed there, some in cheap Woolworth frames, others in silver, still others mere scraps torn from old Silver Screen magazines, photographs of thirty women, no two alike.

The old, old man let a smile haunt his face.

"My sweetheart dears, from when I was an active volcano."

The most ancient of ancient men looked out at me from behind a maze of wrinkles, the kind you get when you search the icebox at six A.M. and take out last night's pre-mixed martinis.

"I keep the door locked. I thought you were just here, yelling outside."

"Not me."

"Someone was. Outside of that, nobody's been up here since Lowell Sherman died."

"That's two obituaries in ten minutes. Winter 1934. Cancer and pneumonia."

"Nobody knows that!"

"I roller-skated by the Coliseum one Saturday 1934 before a football game. Lowell Sherman came in whooping and barking. I got his autograph and said, 'Take care.' He died two days later."

"Lowell Sherman." The old, old man regarded me with a new luster in his eyes. "As long as you're alive, he is, too."

Clyde Rustler collapsed in the one chair and sized me up again. "Lowell Sherman. Why in hell did you make the long climb up here? People have died climbing. Uncle Sid climbed up once or twice, said to hell with it, built the bigger projection booth a thousand yards downslope in the real world, if there is a real one. Never went down to see. So?"

For he saw that I was casting my gaze around his primeval nest at those walls teeming with dozens of faces, forever young.

"Would you like a rundown on these mountain-lion street cats?" He leaned and pointed.

"Her name was Carlotta or Midge or Diana. She was a Spanish flirt, a Cal Coolidge 'It girl' with a skirt up to her navel, a Roman queen fresh out of DeMille's milk bath. Then she was a vamp named Illysha, a typist called Pearl, an English tennis player-Pamela. Sylvia? Ran a nudist flytrap in Cheyenne. Some called her 'Hard Hearted Hannah the Vamp of Savannah.' Dressed like Dolley Madison, sang 'Tea for Two,' 'Chicago,' popped out of a big clamshell like the pearl of paradise, Flo Ziegfeld's craze. Fired by her father at thirteen for conduct unbecoming a human who ripened fast: Willa-Kate. Worked in a chophouse chink joint: Lila Wong. Got more votes than the president, Coney Island Beauty Pageant, '29: not-so-plain Willa. Got off the night train in Glendale: Barbara Jo, next day, almost, head of Glory Films: Anastasia Alice Grimes-"

He stopped. I looked up. "Which brings us to Rattigan," I said.

Clyde Rustler froze in place.

"You said no one's been up here for years. But-she came up here today, right? Maybe to look at these pictures? Did she or didn't she?"

The old, old man stared at his dusty hands, then slowly rose to face a brass whistle tube in the wall, one of those submarine devices that you blew so it shrieked and you yelled orders.

"Leo? Wine! A two-dollar tip!"

A tiny voice squealed from the brass nozzle, "You don't drink!"

"I do now, Leo. And hot dogs!"

The brass nozzle squealed and died.

The old, old man grunted and stared at the wall. A long, terribly long five minutes passed. While we waited I opened my notepad and took down the names scrawled on the pictures. Then we heard the hot dogs and wine rattling up the dumbwaiter. Clyde Rustler stared as if he had forgotten that tiny elevator. He took forever opening the wine with a corkscrew, sent by Leo, from down below. There was only one glass.

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