I look up at the empty angles of the brick walls against the sky. I look the other way, across the broken pavement.
Someone is walking slowly, surely, toward me.
I don't know why, but this figure outlined against the sky frightens me. It is obviously staring at me. It is obviously coming right toward me. It walks mechanically, relentlessly.
That is when I start running.
I scamper up some concrete steps. I pivot on the rusty handrail and run off to the left between broken factory buildings. I throw myself down the alley. Only a few more turns and I'll be back out on a main street.
From around the corner, I can hear that the figure is gaining at an inhuman pace. It couldn't have gone up the steps with feet.
I burst out onto the street. Cars are whipping past. Birds are shooting through hedges. A motorcycle revs.
I move away from the alley and up the road, glancing backward. I wait to see who's coming after me.
I stand there.
No one comes.
The ungla.s.sed windows of the factory are blackened with ancient soot, dark carbon licks of women who sewed petticoats. The walls face blankly on the street.
No one comes.
There is no sign that anyone was with me in the factory at all.
I continue cautiously on my way to school. I walk up the hill past the town green. Up a steep lane past the house of a man who owns sixteen old cars, all of them without wheels. By the time I reach the first of the streets in my school's neighborhood, I can tell that I'm being followed again.
The strange thing is that the man (for at first I a.s.sume it's a man) is not subtle at all. I have read about a billion spy novels, and when you are following someone, you hide behind newspapers, or pretend to paint the house next door, or hide a camera inside a s.p.a.cious poodle.
You don't just walk calmly after your prey and stand across the street from him, right on the sidewalk, staring.
He is wearing a cheap baggy suit and a blue polyester tie with raised paisleys. His face is wide and stern. His hair is in one piece, all pulled back and oiled into waves. That is how I first know that he is not of this earth. No human would willingly have that hair.
His eyes do not blink or move. He does not look like he is comfortable in his body.
He follows me to school. He waits on the circle at the base of the American flag, and every cla.s.s I'm in he turns like the shadow on a sundial to face the windows.
He follows me home. I am petrified. In my house, I cling to rooms where people are sitting. My family starts looking at me strangely. I can see him through windows, standing across the street, staring.
He stands there through the afternoon. No one else has noticed him.
He stands there as night falls.
During dinner, he treads right up to the window, peering. I scream and back away from the table. His face is inches from the gla.s.s. His eyes are dead. He is staring at me.
Everyone else looks around the kitchen and asks me what's wrong.
When I look out, he is back across the street, staring at us.
I ask Paul if I can sleep in his room. He says not until I fix my little bed-wetting problem, ha ha ha.
It must be some kind of supernatural servant of Tch'muchgar. That is all I can think. It must be a spirit like Chet, but working for evil instead of good. It is watching to see whether I will respond to the vampires' letters, or whether I will just be a danger to them. It wants to see whether I go out at night, and range through the town, and find my gory prey. It stands there, just biding its time.
That night, when I can't sleep, I can feel the Thing with the One-Piece Hair staring in at me. I can feel its line of sight shooting through the window, ricocheting off the lamp, and striking me.
I get up at about three and peek out the window.
There are a few streetlights. It is standing near one of them. Its arms are at its sides.
Its dead eyes stare at me still.
They are staring, and it waits.
Paul and I are watching the double funeral for the two teenage lovers killed in Northborough by vampires.
The national tabloids have made the story into a big morality issue as a warning to teens and hysterical parents. Their headlines are things like "NO N NECKING!" WARNS N NORTHBOROUGH'S N NAPE-NIBBLING N NOSFERATU. The funeral is on the Catholic channel during prime time.
Paul says, "I can't believe these media b.u.t.tscoops. You know, who are the real vampires here?"
I am crouched down to watch the show because the Thing with the One-Piece Hair is standing with its face pressed to the window. Its nose leaves no grease on the pane.
I am terrified, curled up into a ball so it can't see me behind the plaid sofa. But I know it is still standing there. My parents are out, and I don't want to be in a room without my brother.
"Are you okay?" Paul asks.
"I have a stomachache," I say.
"You've been sick a lot lately," he says.
After the commercial break, the show moves on to the psalms.
"I can't believe they're doing this close camera work on these people. The mother and sisters are, like, bawling their eyes out and the camera's loving it," says Paul.
On the screen, the father of the girl, voice cracking like a kid's, is intoning one of the Bible readings. "In the mountains, there is a voice of mourning, crying, and wailing; it is Rachel, who weeps for her children, and will not be comforted, for they are no more."
His voice floats through the dark forests, past the blinking radio towers on lonely hills; it floats past the empty squares and pizza joints with buzzing signs, and into the neat white houses by the green, into the shacks down near the old factories.
And everywhere at once, he lowers his head; and everywhere at once, his voice falls silent.
One night, Tom and Jerk decide to go on a vampire hunt.
I do not think it is a very good idea. I say I don't generally seek the company of anything with fangs. There are three of us, however, which always means that it's one against two. I end up protesting uselessly. Tom has not quite forgiven me for trying to beat him up, so I have to play along.
I really don't want to go at all. The Thing has been following me off and on for three days, and I don't want to go out of the house more than is absolutely necessary. But I have to. Tom has started watching me at school. He can see that I have not been sleeping well. He notices at lunch that I am not eating well. I am worried that he might have guessed what is wrong. Maybe it is nothing; but maybe he knows.
He is judging me carefully. There's a suspicion in the way he looks at me. I can tell that this vampire hunt idea of his is a test. He has something up his sleeve.
I am terrified that he might know. And once he knows for sure, he will blow the whistle.
I do not have much homework, and I do it all before dinner. I have to translate a dialogue between two French people buying greeting cards. After dinner, I lie to my mother.
"I'm going over to play video games with Tom and Jerk," I say.
"Video games?"
"At Tom's house," I say. "His mother said it was okay."
"Get your father to drive you. I don't want you walking after dark."
"Why?"
"You know why."
"It's only about five minutes to Tom's house."
"I don't want you walking after dark."
"At all?" I say. "Can I crawl?"
"Don't get sarcastic with me, Chris. I said I don't want - ," and so on. We have this sort of conversation for a while. In the end, my father drives me.
While we drive over to Tom's, which is about a minute's drive, my father listens to the oldies station and hums along. Occasionally he'll remember three words and sing them. The blossoms are coming out on some of the trees. The telephone lines are drooping over the street.
It's about half an hour later that we set out for the forest. Tom's parents know we are going, but they are lax and not very bright. "Have a good time!" they say. "Be careful!"
We pick up Jerk on the way. The two of them insist on bringing Jerk's dog, Bongo.
Bongo runs around the three of us, huffing. He bounces on me for a while. Then he bounces on Tom.
"We are not taking that dog," I say.
"Why?" says Jerk. "If he'd like to he can come."
"Who says?" I ask.
"Let him bring the dog," says Tom, who is being bounced on. Tom b.u.mps his palms against Bongo's chest to fend the animal off. "It'll protect us," he says.
"That stupid dog will no more protect us -"
"He is not stupid," says Jerk hotly.
"He is stupid."
"He is not stupid."
"Jerk," I say, "that dog is stupider than a thing made out of wood."
But Tom is being indulgent with Jerk, so he says that Jerk can bring the dog if he wants and what is my problem. We head off for the town forest.
It is dark by now. The stars are only out sometimes, as clouds keep sliding in front of them. The trees are scratching in the breeze.
We go through a few streets of houses. Most of the town is old, tall houses, or at least the memorable part is. The part where Jerk lives is all short and squat, and it's looking a little rundown. A few windows are lit badly and dimly, like aquarium lights.
We kick a stone back and forth, and I lose it in a drain.
"How long do we have to hunt for vampires?" I ask Tom. "When do we give up?"
"You don't have to come," says Tom sourly. He perches his eyebrows carefully, as if he's studying me, speculating.
I shrug. "I just want to know when we're going to turn around."
"What's your problem tonight?" he says.
We go under the metal railroad bridge. On the brown iron panels, someone has spray painted "Goat legs."
The road winds up the hillside, and for the moment we stick to it, as it is very dark out.
Tom and Jerk are now walking side by side in front of me.
My thoughts are wandering, and Tom and Jerk are heading off into the woods. We step over branches.
Jerk has finally caught up to the debate of twenty minutes ago. He suddenly adds, "And plus, Bongo will be able to detect vampires."
"Come on," I say.
"When dogs see something supernatural their hackles go up."
"What? What is a hackle?" I demand. "I don't know if I want to see your dog with its hackles going up."
Tom has brought along a flashlight, and now he takes it out of his coat pocket. He starts shining it around the trees.
"Did you see last year when they were in Montana?" he asks.
"The vampires?" says Jerk.
"Yes, in Montana," Tom affirms. "They had on the news -"
"I remember that," says Jerk. He wheels his arm to push aside a springy branch. I am still behind them, so I catch it as it snaps back.
"Did you see the footage?" asks Tom. "There were farmers - they showed pictures - farmers who were caught by vampires. They showed these pictures of these farm machines with these corpses sitting in them, and their heads were all just blood and this pulpy substance, and their clothes were all stained."
"Then," I suggest, "it is somewhat curious that I find myself looking for vampires."
"Chris is complaining again," Tom says to Jerk.