And the mike went dead again.
Theresa cut in Millie’s intercom. “Where did that come from?”
Millie was crying. “That was line three, from Orange County. But the first one was an L. A. line. It can’t be!”
Jake’s face was white with fear. “Oh, my God,” he said, very quietly, the words trembling with terror.
Brother Michael was babbling, saying over and over, “I had nothing to do with it, nothing… I don’t know him… I swear I didn’t mean any harm…”
And as the hour wore to a close, there were two more calls. One on a line from Long Beach, the other on a line originating in Glendale. It was impossible for anyone to get from one of those far areas to another in the space of minutes; yet it was the same voice, and it happened.
And when the police came they took Brother Michael away. And Jake went with them, to help coordinate the mobilization of every available cop in the city. And when the hour ended Theresa was left sitting in the booth, shaking with terror.
Party tonight? No, not possible. No party tonight. Perhaps no party any night. That voice, the calm in the words, the certainty. Tonight: the Apocalypse. And one word from the razorblade killer’s last message: Armageddon. The final battle between good and evil, the last battle between the forces of the Creator and the dark demons who had been banished before man walked the Earth.
“Terri, I’m going home now. Will you be okay?”
It was Millie’s voice from the other side of the glass. The control room was empty. Jerry had gone. Theresa looked up dazedly, nodded once, and tried to rise. She found she had lost the strength to leave this terrible little box, at least for the moment. “Go ahead, Millie; I’ll see you tomorrow.” She let her hand lie on the console after releasing the toggle. Millie left.
She knew there were other people in the building. In other studios, KDID was carrying on; even in the face of what had gone out over the air tonight. She found that she was too frightened to leave, to go out through the corridors, past the security desk, into the parking lot with its high wire fence, to get into her car all alone, and to drive across town to her apartment. No. She would stay here. Safe in the booth. Locked away from whatever might happen tonight.
There was a faint light in the empty control room.
She looked through the glass, strained forward to see what it was, moving toward her. A faint purple light, soft and blurred, like a fading bruise on battered flesh. And now another light, in the glass of the waiting room on the other side of the studio. She stared from one to another, watching them moving slowly toward the glass partitions. Now another light in the control room. And another. Two more in the waiting room.
There was a rumbling beneath her feet. The studio trembled with the reverberation of an impact in the earth. Through the sound-proofed walls came the dull roar of explosions. Tremblors rippled the floor, the vinyl tiles buckled around her feet.
The faint lights moved closer. Figures coming toward the glass. Stopping to stare in at her. Figures in long black garments, with drawn cowls that covered their faces. And strange, sickly purple light, the faintest, most terrible glow, shining out from beneath the cowls. They stared in at her. She could see no eyes: but they were staring in at her.
They raised their arms slightly, slowly, and the sleeves of their black robes fell back revealing their hands. Theresa found that she could not breathe, that her chest was convulsing with the pain of her wildly beating heart.
Their fingers did not end in flesh. Metal. Sharp, cold metal; thin and final. This was the answer to how phone calls from the same person could come from distant sources.
There was the sound of movement just outside the door of the studio. The walls shook with the echoes of the cataclysm outside. The roaring was louder now.
And in the moment before the door opened she had the final, petrifying thought that she had been part of it all, had spread the doctrine of irrationality and superstition every night for seven years, had given a platform to every demented True Believer whose wild fantasies might build her audience.
And now her worshipers had come to sacrifice their very own prophet. She felt cold and dead already, could feel the chill slice of the thin, metal fingertips. Her palms were soaked with sweat in expectation of the final performance.
The door opened and they filed in to fill the studio. They stood staring at her as she felt her life clog up in her throat and arteries. They raised their arms and the sleeves fell back from pale flesh and metal fingertips. She waited for the first touch.
And they sank to their knees, lifting their arms in supplication. She began to tremble with the rictus of a scream shaking her like a fever. Now she knew the worst, now she understood:
She was not to die. She had broadcast the word for them, every night for seven years, and she was not to die. She would be their dark priestess. Like the others who had done their spadework, like the others who had spread the word, she was to be kept alive, perhaps forever.
Dark priestess in a world of desolation, ruled by devils, cleansed of humanity. She would not die!
More ruinous than death: to rule forever in Hell. Lovelessly alive; worshiped by eaters of the darkness. To live on, coated always with a cold sweat, through a final performance that had no curtain, no exit lines.
Her scream could have shattered glass, but it didn’t; it merely resonated against the metal fingertips of her subjects, her masters.
From the burning world beyond the studio came the wind whisper of the plague of locusts.
Would You Do It for a Penny?
Writers take tours in other people’s lives.
And every once in a while the observed becomes an integral part of the life of the observer. Make no mistake, and when the reviews are written and the idle chatter is passed—never permit the deletion: I did not write this story alone. It was a true collaboration between me and one of the most exemplary human beings I have ever known, Haskell Barkin.
We wrote this as a lark, a number of years ago, and it was published in Playboy. In that way, Huck—as we call him—helped me realize a secret desire. I had always wanted to see my work in Playboy but had been unsuccessful in getting them to consider the stories seriously enough. Not only because Playboy is arguably the highest-paying magazine market in the world, but because as times have changed and fiction has waned in importance for that journal, to be replaced by topical nonfiction, the pages allocated for fiction have diminished. They are always hot to publish Cheever or Updike or Le Carré (and with justification because they are excellent), but because those fiction pages are held so dear they are highly selective in whom they permit to occupy that space. Unless one has had a popular success, from which instant name-identification provides an added value for their table of contents, it is strictly the quality of the material that buys a writer the chance at that forum.
Despite my having sent Playboy virtually everything of what I considered first rank for many years, including stories that later won awards and became widely anthologized, I could never get the nod. On one occasion they rejected a story titled “Pretty Maggie Money-eyes” on the grounds that the female character was stronger than the male character. As I say, even at Playboy times have changed. But for many years I was on the outside looking in. And it galled me. On a low energy level, to be sure, but a burr under my saddle nonetheless.