On the poster outside the Cooperative Hall, forming from the stars twined in the foliage, Charles had read: 'BRICHESTER'S FIRST BE-IN-FREE FLOWERS AND BELLS!' But in the entrance hall, beyond the desk where a suspicious muscle-man accepted his ten shillings, two girls were squabbling over the last plastic bell. Searching in the second cardboard carton, Charles found a paper flower whose petals were not too dog-eared, whose wire hooked into his b.u.t.ton hole without snapping. 'b.l.o.o.d.y typical,' a boy said next to him. 'I'm going to write to the International Times about this.'

He meant it wasn't a true love-in, Charles supposed, fumbling with terminology. He'd once bought the International Times, the underground newspaper, but the little he had understood he hadn't liked. Uneasily he watched the crowds entering the ballroom. Cloaks, shawls, boys with hair like dark lather, like tangled wire: Charles adjusted his 'Make Love Not War' badge, conscious of its incongruity against his grey office suit. He glanced up at the names of groups above the ballroom door: the t.i.tus Groans, the Faveolate Colossi. 'OK, guys and gals, we've got a fabulously faveolate evening ahead for you,' he muttered in faint parody. 'Come on,' said the boy at his side, 'let's go in.'

Through the entrance Charles could see swaying figures merged by chameleon lights and hear drums like subterranean engines; as they entered the guitars screamed, a spotlight plunged through his eyes to expand inside his skull. 'Let me adjust,' he said to his companion: anything to gain time. Threads of joss-smoke curled into his nostrils, sinuous as the hands of a squatting girl, Indian-dancing for an encircling intent audience. A middle-aged man left the circle, which closed, and wandered ill at ease: a reporter, Charles thought. He searched the vast ballroom; groups of thirteen-year-old girls dancing, multicolored spotlights painting faces, projectors spitting images of turbulent liquid on the walls, on the stage the Faveolate Colossi lifting guitars high in a faintly obscene gesture. 'Ready ?' asked the boy at his side.

They danced toward two girls: sixteen, perhaps, or younger. A crimson light found Charles; when it moved away his face stayed red. Each time he moved his foot it was dragged down by a sense of triviality; he thought of the file left on his desk last night, to be dealt with on Monday morning. He sensed the reporter watching him from the shadows. The music throbbed to silence. The two girls glared at Charles and walked away. 'Not much cop, anyway,' said his companion-but then he seemed to see someone he knew: he vanished in the murk.

On the balcony above the ballroom a girl wearily blew bubbles through the shafts of colored light. They settled, bursting when they touched floor or flesh: Charles saw his life. 'Are you a flower person?' a voice asked: it was the reporter, twirling a paper flower.

'No less so than you, I should think.' Charles felt cheated: the boys with flowers behind their ears, the girls dancing together like uneasy extras in a musical, the jagged lances of sound, the lights excruciating as the dazzle of sc.r.a.ped tin, gave him nothing: less than the fragments he'd retained from books on philosophy.

'I'm not one-Good Lord, no. I'm just searching.' Charles sensed sympathy.

'You're not a reporter?'

'Never have been. Is that what I look like? No wonder they've all been watching me.'

'Then why are you here ?'

'For the same reason as you,' the other said. 'Searching.'

Charles supposed that was true. He stared about: at the far end from the stage a bar had been given over to lemonade. 'Let me stand you a drink,' the other said.

At the bar Charles saw that the man's hands were trembling; he'd torn the paper petals from the wire. Charles couldn't walk away; he searched for distraction. On stage the leader of the t.i.tus Groans was staggering about, hands covering his eyes, crying 'Oswald, Kennedy, James Dean, Marilyn Monroe-' The speakers round the ballroom squealed and snorted. 'Kill, kill!' screamed the t.i.tus Groan, setting fire to a cardboard amplifier. Charles glanced away, at caped figures in a corner. 'Sons of Dracula,' he muttered in a weak Karloff parody. The other laughed. 'You're a good mimic,' he said. Charles thought of the office: moments when he'd felt the conversation move away from him and improvised an imitation to hold attention. He stared at the figures smoking gravely in the corner, until he saw the flash of a packet of Woodbines.

'If someone had given you LSD or hashish, would you have accepted?' the other asked, sipping a c.o.ke and belching.

'I don't know. Perhaps.' Something to set him apart from the people at the office, though they'd never know: he hadn't even dared to wear his badge among them.

'You feel empty. You're looking for something to fill you, to expand your mind as they'd say.' The man's hands were shaking again: the gla.s.s jangled on the bar.

'Ja, iss right, Herr Koktor,' but it didn't work. 'I suppose you're right,' Charles said.

The t.i.tus Groan was casting flowers into the crowd. Suddenly Charles wanted one-then immediately he didn't: it was trivial. Girls scrambled for the flowers; as they converged they changed from red to green. 'Gerroff!' yelled one. 'I think-' Charles said. 'I know,' the other agreed. 'Let's leave.'

In the entrance hall the pugilist behind the desk peered at them suspiciously. 'By the way, my name's Cook,' the man mentioned. 'Charles,' Charles said.

They emerged into the main street; behind the blue lamps the moon was choked by clouds. A pa.s.sing couple eyed Charles' flower and 'Make Love Not War' and shook their heads, tut-tut. 'I know you bought that badge for the occasion,' Cook remarked. 'You might as well take it off.'

'I do believe in it, you know,' Charles said.

'Of course,' Cook said. 'We all do.'

Tomorrow Charles might say: 'Last night I met a philosopher'-but once he'd claimed as his own a description of a robbery told him by a friend, only to be taunted by his neighbor at the office: 'Yes, I saw that too. Last week on tv, wasn't it?' Two boys pa.s.sed, tinkling with beads and bells. Charles was about to offer Cook a drink: he'd formed vague friendships at the office thus. But Cook was struggling to speak.

'I wonder-' he mumbled. The moon fought back the clouds, like an awakening face. 'I don't know you very well, but still-you seem sympathetic... Look, I'll tell you. I'm meeting some friends of mine who are experimenting with the mind, let's say. Trying to realize potential. It sounds dramatic, but maybe they can help you find yourself.' His head shook; he looked away.

He was nervous, Charles could see: it was as if he'd drained Charles' unease into himself, leaving Charles the power to calm him. 'I'll try anything once,' Charles said. Blinded by the lamps like photofloods, the moon shrank back into the clouds.

They walked toward a side street where Cook's car was parked. In the unreal light the shops rose to Victorian facades, annihilating time. Charles wondered what they'd give him: LSD, lights, hypnosis? In the Be-In the pounding sound and leaping lights had reminded him somehow of brainwashing. He didn't like the idea of hypnosis: he wanted to be aware of his actions, to preserve his ident.i.ty. Perhaps he'd simply watch the others.

Down a side street, on a stage of light from a pub door, two men fought. Charles couldn't look away. 'I thought so,' Cook said. 'You're one of us,'

In the next street Cook's car waited, its headlights dull like great blind eyes. 'I hope you're not too perfect,' Cook mumbled, unlocking the door. 'They can't abandon me, not now. No, I'm just suspicious by nature, I know that.' Savagely he twisted the ignition key, and shuddered. 'They're in Severnford,' he said.

Darkness spread again over the last house like decay, and the road dipped. As they swept over a rise Charles saw the distant Severn: a boat drifted quietly and vanished. Hills were lit like sleeping colossi; over them the moon bounced absurdly before the clouds closed. Suddenly Cook stopped the car. The darkness hid his face, but Charles could make out his hands working on the wheel. Cook rolled the window down. 'Look up there,' he said, pointing an unsteady finger at a gap in the clouds exposing the universe, a lone far frosty star. 'Infinity. There must be something in all that to fill us.'

In Severnford they pulled up near the wharf. The streets were lit by gaslamps, reflected flickering in windows set in dark moist stone. 'We'll walk from here,' Cook said.

They crossed an empty street of shops. On the corner of an alley Cook stopped before a window: socks, shirts, skirts, bags of sweets, tins of Vim, along the front of the pane a line of books like a frieze. 'Do you read science fiction?' Cook asked.

'Not much,' Charles said. 'I don't read much.' Not fiction, anyway, and retained little.

'You should read Lovecraft.' Next to the tentacled cover a man fought off a razor, hands flailing, eyes pleading with the camera: Cook almost gripped Charles' arm, then flinched away. They entered the alley. Two dogs scrabbling at dustbins snarled and ran ahead. In a lighted window, above the broken gla.s.s which grew from the alley wall, someone played a violin.

Beyond the houses at the end of the alley ran the Severn. The boat had gone; tranquil lights floated against the current. Gas-lamps left the windows of the houses dark and gaping, shifted shadows behind the broken leaning doors. 'Over here,' Cook said, clearing his throat.

'Here?' Cook had headed for a disused pub, its dim window autographed in dust. Charles wavered: was Cook perhaps alone ? Why had he lured him here ? Then Charles looked up; behind the sign-THE RIVERSIDE-nailed across the second storey, he glimpsed the bright edge of a window and heard a hint of voices, mixed with some sound he couldn't place. Cook was swallowed by the lightless doorway; the two dogs ran out whimpering. Charles followed his guide.

Beer-bottles were piled in pyramids on the bar, held together by Sellotape; in the topmost candles flared, their flames flattened and leapt, briefly revealing broken pump-handles on the bar-top like ancient truncheons, black mirrors from which Charles' face sprang surprised, two crates behind the bar cloaked in sacking. POLICE ARE PEOPLE TOO was painted on a gla.s.s part.i.tion; for a moment it appeared like the answer of an oracle. 'Oh, the police know about this,' Cook said, catching Charles' eye. 'They're used to it by now, they don't interfere. Upstairs.'.

Beyond the bar a dark staircase climbed; as they mounted past a large unseen room, through whose empty window glimmered the Severn, the voices hushed, giving way to the sound which worried Charles. Cook knocked twice on a panelled door. A secret society, thought Charles, wondering. The door opened.

Sound rushed out. Charles' first thought was of the Be-In: a united shriek of violins, terrifying. Inside the long room faces turned to him. 'Take off your shoes,' Cook said, leaving his own in the row at the door, padding onto the fur which carpeted the flat.

Charles complied uneasily, postponing the moment when he must look up. When he did they were still watching: but not curious, clearly eager to know him. He felt accepted; for the first time he was wanted for himself, not a desperately mimicked image. The young man in black who had opened the door circled him, shoulder-length ringlets swaying, and took his hand. 'I'm Smith,' he said. 'You're in my flat.'

Cook hurried forward. 'This is Charles,' he stuttered.

'Yes, yes, Cook, he'll tell us his name when he's ready.'

Cook retreated, almost tripping over someone p.r.o.ne on the fur. Charles surveyed; boys with hair they shook back from their faces, girls already sketched on by experience, in a corner an old couple whose eyes glittered as if galvanized-writers, perhaps. They weren't like the people at the office; he felt they could give him something he sought. Against the walls two speakers shrieked; several of the listeners lay close, crawling closer. 'What's that?' Charles asked.

'Penderecki. Threnody for the Victims of Hiroshima.'

Charles watched the listeners: in the violins the imaginative might hear the screams of the victims, in the pizzicati the popping of scorched flesh. Near one speaker Beyond Belief protected a veneer from a pub ashtray; next to it lay New Worlds Speculative Fiction, We Pa.s.s From View, Le Sadisme au Cinema, an International Times and a pile of Ultimate Press p.o.r.nography, above which, mute, stared Mervyn Peake's Auschwitz sketches. 'Smoke?' Smith asked, producing a gold cigarette-case.

'No thanks,' Charles said; when he knew them better he'd try the marihuana, if that was what it was.

'I will,' Cook interrupted, taking a black cigarette.

The violins died. 'Time?' someone suggested.

'I'll make sure,' Smith turned to Charles apologetically: 'We don't use words unless they're meaningful.' He padded to a corner and opened a door which Charles hadn't noticed; beyond it light blazed as at the Be-in. Charles thought he heard voices whispering, and a metal sound. He glanced about, avoiding the faces; outside the window loomed the back of the pub sign. A wall hid the river from him, but he could still see the quiet boat in the moonlight. He wished they'd speak instead of watching him; but perhaps they were waiting for him to declare himself. He wished Cook wouldn't stand at the bookcase, his shivering back aware of Charles.

Smith appeared, closing the door. The faces turned from Charles to him. 'Charles has come to find himself,' he said. 'In there, Charles.'

They stood up and surrounded the door, leaving a path for Charles. They were eager-too eager; Charles hesitated. He'd wanted to be part of something, not alone and acted upon. But Smith smiled deprecatingly; the fur lulled Charles' nerves like a childhood blanket. He started forward. 'Wait,' Smith said. He stared at Cook, still trembling before the bookcase. 'Cook,' he called, 'you want to partic.i.p.ate. You be guide.'

'I feel sick,' said Cook's back.

'You don't want to leave us after so long.'

Cook shuddered and whirled to face them. He looked at Charles, then away. 'All right,' he whispered, 'I'll help him.' Beckoned by Smith, he preceded Charles into the other room.

Charles almost turned and ran, he couldn't have said why; but he was inhibited against rejecting people he'd just met. He strode past the eyes into the blazing light.

At first he didn't see the girl. There was so much in the way: cameras on splayed tripods, blind blinding spotlights climbed by cords like Lovecraft tentacles, in the centre of the floor a rack of knives and razors and sharp instruments, carefully arranged. He heard what must be the whimper of a dog on the wharf. Suddenly he peered through the twined cords and thrust Cook aside. A girl was tied to the wall. Her arms were crucified high. She was naked.

The jigsaw fitted-International Times, p.o.r.nography, the cameras, p.o.r.nographic films-but Charles felt no revulsion, simply anger: he'd come so far for this. Then a glimpse of crimson drew his eye to the gap where the girl's left little finger should have been. Unbelieving, he stared at the floor, at the pattern of crimson tracing the agonized flurry of her hand.

'Make your choice,' Cook said.

Slowly Charles turned, sick with hatred. Cook had retreated to the door; over his shoulder the others craned for a better view. 'Make your choice,' Cook repeated, indicating the rack of knives: his voice trembled, and the girl looked back and whimpered. 'Let what is in you be you. Release your potential, your power.'

Charles couldn't look at the girl; if he did he'd be sick. He could feel her pleading with him. He approached the rack; his stockinged feet clung to the floor as in a nightmare. He touched a knife; its blade mutilated his reflection, its edge was razor-sharp. He clutched the handle and glanced with p.r.i.c.kling eyes toward the door. It wouldn't work: too far to run. He struggled to remove the knife from the rack.

'Go on, Cook, help him,' Smith said. The girl sobbed. Cook turned about, trembling. 'Cook,' Smith said.

Cook sidled toward Charles, his eyes appealing like a dog's as they linked the girl and Charles: Charles was his nightmare. Almost at the rack, Cook stood shaking and glared toward the girl. 'My G.o.d!' he cried. 'You haven't-'

'My wife?' Smith called. 'Not even I.'

The knife slid from the rack and was at once in Cook's stomach. Yet Charles saw the blade flash on Cook's face, flayed not so much by terror as by knowledge. Cook fell on the knife. Charles closed his eyes. Blindly he wiped his hands on his jacket. At last he faced them, and almost knew what Cook had known. They were watching him with a new expression: worship.

Behind him he heard movement. He had to turn. The girl was pulling her hands free of the cords, flexing her little finger which had been hidden in her palm, wiping off the crimson paint on a cloth from the floor. As she pa.s.sed Charles she stretched out her hand to touch him, but at the last moment lowered her eyes and knelt before Cook's body. Smith joined her and they linked hands. The others-followed and knelt, the old couple sinking slowly as their charge was drained. They turned up their faces to Charles, waiting.

You made this happen! he might have shouted to defeat them. You staged this, you invented it! It means nothing.

And all he'd done had been to perform their script-But his hand had held the knife, his hand still felt it plunge, his hand displayed the blade beneath which they cowered. Within him something woke and swelled, tearing him open, drawing him into itself. They saw; they knew. The girl stretched out her hands toward him, and they chorused a name.

At once it was outside his body, no longer part of him. For a moment he was filled by the innocence of oblivion. Then, finally, he knew. He felt what they had called forth sucking him out like an oyster, converting him into itself, the pain as his molecules ripped asunder as if his fingers were being wrenched loose. He cried out once. Then blood fountained from his mouth.

They moved whispering through the flat, eyes averted. Two of them supported Cook's body to his car. 'In the hills, remember,' Smith whispered.

He returned to the studio, head bowed. 'The river?' someone asked, pointing to the dry grey shape on the floor.

'It's nothing now,' Smith said. 'It won't be recognized. The front door.'

They gathered up the husk and piled it into a paper carrier, where it rasped, hollow. Someone took the bag down through the pub. The candles had guttered. He threw the contents of the bag into the street beneath the gas-lamps, and the dogs converged snarling to flight. Then he rejoined the others, as reverently they raised their eyes to what filled the flat, and waited for it to speak.

The Interloper (1973).

When Scott entered the cla.s.sroom it was as if a vacuum-jar had been clamped over the cla.s.s. Thirteen conversations were truncated; thirty boys stood, thirty folding seats slammed back; a geometry set crashed, scattered; John Norris coughed nervously, falsely, wondering if Scott had heard him saying seconds before to Dave Pierce "The Catacombs at lunchtime, then?" Scott's gaze froze about him. "All right, sit down," said Scott. "I don't want this period wasted." He sat. The congregation sat. Homework books were flurried open. John sensed Scott's haste, and pin-cushions grew in his palms; he thought of the solution on which everyone else agreed; he lived for the arrival of the Inspector in the afternoon, when Scott surely couldn't take it out of him.

"Answer to the first one. Robbins?" On the bus that morning, during breaks in the dawn game of musical window-seats, they'd compared solutions. ("What'd you get, Norris?" "34.5." "You sure? I had 17.31." "So did I." "Yes, I did too") The pins stung. "Correct, x = 2.03 or -3.7. Anybody not get that? Any questions?" But n.o.body dared stand unless so ordered. "Next. Thomas?" Thomas stood, adjusted his homework, gave vent to a spurious sigh of desperate concentration. Scott drummed a stick of chalk, swept down in dusty robes on Thomas. "Come on, lad, you can't dither in an exam. 27.5 is the answer, isn't it?" Thomas beamed. "That's right, sir, of course." "No, it isn't, you blockhead!" Scott strode behind Thomas to peer at his homework, drove his knuckles into Thomas's kidney with an accuracy born of years of practice. "Wake your ideas up, lad! Fuller, can you show Thomas how to think?"

The exam in six months, possessing Scott with terrifying force. The Inspector's visit, driving Scott to fury at being subdued in the afternoon. Oh, G.o.d, John prayed, don't let him ask me question five. "That's it, Fuller. Go on, sit down, Thomas, we don't need you as cla.s.s figurehead. Hawks, what have you got for the next one?" The cla.s.s next door roared with laughter, Foghorn Ford must be taking them, the English master, John's favourite, who let him write poetry in cla.s.s sometimes when he'd turned in particularly good homework. Silence. Laughter. John was jealous. Scott was behind him somewhere, pacing closer: "Come on, come on, Hawks!" Further down the corridor cracked the flat sound of a strap. Some of the masters you could come to terms with, like the art master; you had only to emulate the skunk to get rid of him. But Strutt, the gym master--he'd have your gym-shoe off for that. And you couldn't do much about Collins's geography cla.s.s--"Spit" they called him, because sitting on his front row was like standing on a stormy promenade. Yet no cla.s.s was so suffocated by fear as Scott's. One lunch-hour when John had been writing poetry Thomas had s.n.a.t.c.hed his notebook and Scott had come in and confiscated it; when John had protested Scott had slapped his face. Dave Pierce had told John to protest to Foghorn Ford, but he hadn't had the courage. Next door Ford's cla.s.s laughed. Further off the strap came down: Whap! Silence. Laughter. Whap! Whap! WHAP! John felt Dave's eyes on him, deploring. He turned to nod and Scott said "Norris!"

He stood. More moist pins stabbed. On the still air hung chalk and Scott's aftershave. "Yes, sir," he stammered.

"Yes, sir. The first time I repeat myself it has to be to you. Question five, Norris, question five!"

The Inspector. The Catacombs at lunchtime. Foghorn Ford always called him "Mr Norris." None of these could comfort him; fear twinged up from his bowels like wind. "34.5, sir?" he pleaded.

"Norris--Thomas I can understand, because he's an idiot, but you--I showed you how to do this one on the board yesterday. Don't tell me you weren't here."

"I was here, sir. I didn't understand, sir."

"You didn't understand, sir. You didn't ask, sir, did you? You were writing poetry about it, were you? Come out here." Scott cast his robes back; chalk whirled into the air.

John wanted to shut his eyes, but that wasn't permitted; the cla.s.s was watching, willing him to represent them in the ritual without shaming them. Scott pulled John's left hand straight, adjusted it to correct height with the strap. He aimed. John's thumb closed inadvertently. Scott flicked it aside with the strap. The crowd was hushed, tense. The strap came down. John's hand swelled with hectic blood.

"Now, Pierce," said Scott. "I'm sure you can enlighten your friend."

A bell shrilled. Ford's cla.s.s pelted to the playground, flattening against the wall to file as Scott approached. "Time for a drink, Ford?" he called. John averted his face as he pa.s.sed, swollen with fear and hatred. "Scott's not too bad really," Dave Pierce said. "Better than that swine Ford, anyway, keeping me in last week."

Disloyal to his throbbing puffed-up palm, thought John bitterly. "Glad you think so," he muttered.

"Never mind, John. Did you hear this one? Two men go to a doctor, see--was John could guess the sort of thing: he didn't like to hear it, couldn't join in the secret sn.i.g.g.e.r at "Edgar Allan Poe," "oui-oui," and so on. "We'd better hurry," he interrupted. "You get past the gate and I'll be under the wall."

He strolled past the playground; boys walking, talking, shivering in the pale February light which might have been shed by the gnawed slice of moon on the horizon; a group in one corner huddled round photographs, another conferring over homework for the afternoon; beyond, on the misty playingfield, a few of Strutt's favourites running in gym-suits. On the bus that morning a man cradling a briefcase had offered to help John with his homework, but he was obscurely scared of strange men. He stood against the wall beyond the playground. When Dave's lunch pa.s.s flew over, he caught it and made for the gate.

A prefect leaned against the railings; he straightened himself, frowning, as befitted his position--one day a week for the school spirit, he'd rather be at the pub. Above his head words were scratched on the king george v grammar sign through the caretaker's third coat of paint, in defiance of the headmaster's regular threats. John flashed the pa.s.s from his good hand and escaped.

Down the road Dave was waiting by fragments of a new school: a lone shining coffee-urn on a counter, pyramids of chairs, skulls drawn in whitewash on the one plate-gla.s.s pane; a plane had left a fading slash of whitewash on the sky. "How do we get to The Catacombs?" Dave asked.

"I don't know," John answered, feeling comfort drain, emptying the hour. "I thought you did."

Heels clicked by in unison. "Let's follow these girls, then. They're a bit of all right," Dave said. "They may be going."

John drew into himself; if they turned they'd laugh at his school blazer. Their pink coats swung, luring Dave; their perfume trailed behind them-- The Catacombs would be thick with that and smoke. He followed Dave. The girls leapt across the road, running as if to jettison their legs, and were lost in a pillared pub between a shuttered betting-shop and the Co-operative Social Club. Dave was set to follow, but John heard drumming somewhere beneath the side street to their left. "It's up here," he said. "Come on, we've lost ten minutes already." Cars on the main road swept past almost silently; in the side street they could hear beneath their feet a pounding drum, a blurred electric guitar. Somewhere down there were The Catacombs--but the walls betrayed no entrance to this converted cellar, reclaimed by the city in its blind subterranean search for s.p.a.ce. Menace throbbed into the drum from the rhythm of John's hot hand. Spiders shifted somnolently in a white web wall within a crevice. A figure approached down the alley, a newspaper-seller with an armful of Brichester Heralds, his coat furred and patched as the walls. John drew back. The man pa.s.sed in silence, one hand on the bricks. As he leaned on the wall opposite the boys it gave slightly; a door disguised as uneven stone swung inwards from its socket. The man levered himself onward.

"That must be it," Dave said, stepping forward.

"I'm not so sure." The man had reached the main road and was croaking "Brichester Herald!" John glanced back and saw the pub door open. Scott appeared and strode towards him.

"No," John said. He thrust Dave through the opening; his last glimpse was of Scott buying a Brichester Herald. "That was your friend Scott," he snarled at Dave.

"Well, it's not my fault." Dave pointed ahead, down a stone corridor leading to a faint blue light around a turn. "That must be The Catacombs."

"Are you sure?" John asked, walking. "The music's getting fainter. In fact, I can't hear it anymore."