Ray Bradbury - A Graveyard for Lunatics

A GRAVEYARD

FOR LUNATICS

Another Tale of Two Cities

RAY BRADBURY

GRAFTON BOOKS

A Division of the Collins PublishingGroup

LONDON GLASGOW TORONTO SYDNEY AUCKLAND

ALSO BY RAY BRADBURY

The Toynbee Converter

Death Is a Lonely Business

Something Wicked This Way Comes

The Haunted Computer and the Android Pope

The Stories of Ray Bradbury

Where Robot Mice and Robot Men Run Round in Robot Towns

Long After Midnight

Dandelion Wine

When Elephants Last in the Dooryard Bloomed

The Halloween Tree

The October Country

I Sing the Body Electric!

Switch on the 'tight

The Illustrated Man

The Martian Chronicles

R Is for Rocket

Dark Carnival

The Machineries of Joy

The Anthem Sprinters

A Medicine for Melancholy

Moby Dick (screenplay)

Fahrenheit

Golden Apples of the Sun

S Is for Space

Grafton Books

A Division of the Collins Publishing Group 8 Grafton Street, London W1X 3LA

Published by Grafton Books 1990

Copyright Ray Bradbury 1990

A CIP catalogue record for this book is available from the British Library

ISBN 0-246-13744-4

Printed in Great Britain by

Mackays of Chatham plc

Chatham, Kent

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher.

With love, to the living:

SID STEBEL,

who showed me how to solve

my own mystery;

ALEXANDRA, my daughter,

who cleaned up after us.

GEORGE BURNS,

who told me that I was a writer

when I was fourteen.

And to the dead:

ROUBEN MAMOULIAN,

GEORGE CUKOR,

JOHN HUSTON,

BILL SKALL,

FRITZ LANG,

and JAMES WONG HOWE.

And to RAY HARRYHAUSEN, for obvious reasons.

1

Once upon a time there were two cities within a city. One was light and one was dark. One moved restlessly all day while the other never stirred. One was warm and filled with ever-changing lights. One was cold and fixed in place by stones. And when the sun went down each afternoon on Maximus Films, the city of the living, it began to resemble Green Glades cemetery just across the way, which was the city of the dead.

As the lights went out and the motions stopped and the wind that blew around the corners of the studio buildings cooled, an incredible melancholy seemed to sweep from the front gate of the living all the way along through twilight avenues toward that high brick wall that separated the two cities within a city. And suddenly the streets were filled with something one could speak of only as remembrance. For while the people had gone away, they left behind them architectures that were haunted by the ghosts of incredible happenings.

For indeed it was the most outrageous city in the world, where anything could happen and always did. Ten thousand deaths had happened here, and when the deaths were done, the people got up, laughing, and strolled away. Whole tenement blocks were set afire and did not burn. Sirens shrieked and police cars careened around corners, only to have the officers peel off their blues, cold-cream their orange pancake makeup, and walk home to small bungalow court apartments out in that great and mostly boring world.

Dinosaurs prowled here, one moment in miniature, and the next looming fifty feet tall above half-clad virgins who screamed on key. From here various Crusades departed to peg their armor and stash their spears at Western Costume down the road. From here Henry the Eighth let drop some heads. From here Dracula wandered as flesh to return as dust. Here also were the Stations of the Cross and a trail of ever-replenished blood as screenwriters groaned by to Calvary carrying a backbreaking load of revisions, pursued by directors with scourges and film cutters with razor-sharp knives. It was from these towers that the Muslim faithful were called to worship each day at sunset as the limousines whispered out with faceless powers behind each window, and peasants averted their gaze, fearing to be struck blind.

This being true, all the more reason to believe that when the sun vanished the old haunts rose up, so that the warm city cooled and began to resemble the marbled orchardways across the wall. By midnight, in that strange peace caused by temperature and wind and the voice of some far church clock, the two cities were at last one. And the night watchman was the only motion prowling along from India to France to prairie Kansas to brownstone New York to Piccadilly to the Spanish Steps, covering twenty thousand miles of territorial incredibility in twenty brief minutes. Even as his counterpart across the wall punched the time clocks around among the monuments, flashed his light on various Arctic angels, read names like credits on tombstones, and sat to have his midnight tea with all that was left of some Keystone Kop. At four in the morning, the watchmen asleep, the two cities, folded and kept, waited for the sun to rise over withered flowers, eroded tombs, and elephant India ripe for overpopulation should God the Director decree and Central Casting deliver.

And so it was on All Hallows Eve, 1954.

Halloween.

My favorite night in all the year.

If it hadnt been, I would not have run off to start this new Tale of Two Cities.

How could I resist when a cold chisel hammered out an invitation?

How could I not kneel, take a deep breath, and blow away the marble dust?

2

The first to arrive

I had come into the studio at seven oclock that Halloween morning.

The last to leave

It was almost ten oclock and I was making my final walk-around of the night, drinking in the simple but incredible fact that at last I worked in a place where everything was clearly defined. Here there were absolutely sharp beginnings, and ends that were neat and irreversible. Outside, beyond the stages, I did not much trust life with its dreadful surprises and ramshackle plots. Here, walking among the alleys just at dawn or twilight, I could imagine I opened the studio and shut it down. It belonged to me because I said it was so.

So I paced out a territory that was half a mile wide and a mile deep, among fourteen sound stages and ten outdoor sets, a victim of my own romance and infatuated madness over films that controlled life when it ran out of control beyond the Spanish wrought-iron front gates.

It was late, but a lot of films had fixed their schedules to end on All Hallows Eve, so that the wrap parties, the farewell binges, would coincide on various sets. From three sound stages, with their gigantic sliding doors thrown wide, came big-band music, laughter, explosions of champagne corks, and singing. Inside, mobs in film costumes greeted mobs from outside in Halloween garb.

I entered nowhere, content to smile or laugh as I passed. After all, since I imagined the studio was mine, I could linger or leave as I wished.

But even as I moved into the shadows again, I sensed a certain tremor in myself. My love of films had gone on too many years. It was like having an affair with Kong, who fell on me when I was thirteen; I had never escaped from beneath his heart-beating carcass.

The studio fell on me the same way every morning when I arrived. It took hours to fight free of its spell, breathe normally, and get my work down. At twilight, the enchantment returned; my breathing suffered. I knew that someday soon I would have to get out, run free, go and never come back, or like Kong, always falling and always landing, it would one day kill me.