The Witching Hour

  Then he realized it. He couldn't remember the purpose! He couldn't remember what he'd seen while he was dead! The whole thing, all of it--the people, the places, all he'd been told--he couldn't remember any of it. No, this couldn't be. It had been wondrously clear. And they were depending on him. They'd said, Michael, you know you do not have to return, you can refuse, and he'd said that he would, that he ... that he what? It was going to come back in a flash, like a dream you forget and then completely remember!

  He had sat up, brushing one of the needles out of his arms and asked for a pen and paper.

  "You have to lie still."

  "Not now. I have to write it down." But there was nothing to write! He remembered standing on the rock, thinking of that long-ago summer in Florida, of the warm waters ... Then the wet soaked cold aching thing that he was, on the stretcher.

  All of it gone.

  He had shut his eyes, trying to ignore the strange warmth in his hands, and the nurse pushing him back against the pillows. Somebody was asking Jimmy to go out of the room. Jimmy didn't want to go. Why was he seeing all these strange irrelevant things--flashes of orderlies again, and the nurse's husband, and these names, why did he know all these names?

  "Don't touch me like that," he said. It was the experience out there, over the ocean, that's what mattered!

  Suddenly he reached for the pen. "If you'll be very quiet ... "

  Yes, an image when he touched the pen, of the nurse getting it out of the drawer at the hallway station. And the paper, image of a man putting the tablet in a metal locker. And the bedside table? Image of the woman who'd last wiped it clean, with a rag full of germs from another room. And some flash of a man with a radio. Somebody doing something with a radio.

  And the bed? The last patient in it, Mrs. Ona Patrick, died at eleven A.M. yesterday, before he'd even decided to go to Ocean Beach. No. Turn it off! Flash of her body in the hospital morgue. "I can't stand this!"

  "What's wrong, Michael?" said Dr. Morris. "Talk to me." Jimmy was arguing in the hall. He could hear Stacy's voice, Stacy and Jimmy were his best friends.

  He was trembling. "Yeah, sure," he whispered to the doctor. "I'll talk to you. Just so long as you don't touch me."

  In desperation he had put his hands to his own head, run his fingers through his own hair, and mercifully he felt nothing. He was drifting into sleep again, thinking, well, it will come as it did before, she'll be there and I'll understand. But even as he nodded off, he realized he didn't know who this she was.

  But he had to go home, yes, home after all these years, these long years in which home had become some sort of fantasy ...

  "Back to where I was born," he whispered. So hard now to talk. So sleepy. "If you give me any more drugs, I swear I'll kill you."

  It was his friend, Jimmy, who brought the leather gloves the next day. Michael hadn't thought it would work. But it was worth a try. He was in a state of agitation bordering on madness. And he had been talking too much, to everybody.

  When reporters rang the room direct, he told them in a great rush "what was going on." When they pushed their way into the room, he talked on and on, recounting it again and again, repeating "I can't remember!" They gave him things to touch; he told them what he saw. "It doesn't mean anything."

  The cameras went off with their myriad shuffling electronic sounds. The hospital staff threw the reporters out. Michael was scared to touch even a fork or a knife. He wouldn't eat. Staff members came from all over the hospital to place objects in his hands.

  In the shower, he touched the wall. He saw that woman, that dead woman again. She'd been in this room three weeks. "I don't want to take a shower," she'd said. "I'm sick, don't you understand?" Her daughter-in-law had made her stand there. He had to get out of the stall. He fell down exhausted in the bed, shoving his hands under the pillow.

  There had been a few flashes as he first smoothed the tight leather gloves over his fingers. Then he rubbed his hands together slowly, so that everything was a blur, image piling upon image until nothing was distinct, and all the various names tumbling through his mind made a noise--then quiet.

  Slowly he reached for the knife on the supper tray. He was seeing something but it was pale, silent, men gone. He lifted the glass, drank the milk. Just a shimmer. All right! These gloves were working. The trick was to be quick about every gesture.

  And also to get out of here! But they wouldn't let him. "I don't want a brain scan," he said. "My brain is fine. It's my hands that are driving me crazy."

  But they were trying to help--Dr. Morris, the chief resident, and his friends, and his Aunt Vivian who stayed at his side by the hour. At his behest, Dr. Morris had contacted the ambulance men, and the Coast Guard, the Emergency Room people, the skipper of the boat who had revived him before the Coast Guard had been able to find her--anybody who might have remembered his saying something important. After all, a single word might unlock his memory.

  But there were no words. Michael had mumbled something when he opened his eyes, the skipper had said, but she hadn't been able to make out a specific word. It began with an L, she thought, a name, maybe. But that was all. The Coast Guard took him up after that. In the ambulance he'd thrown a punch. Had to be subdued.

  Still, he wished he could talk to all those people, especially the woman who'd brought him around. He told the press that when they came to question him.

  Jimmy and Stacy remained with him late each night. His Aunt Vivian was there each morning. Therese finally came, timid, frightened. She didn't like hospitals. She couldn't be around sick people.

  He laughed. Wasn't that California for you, he thought. Imagine saying something like that. And then he did the impulsive thing. He ripped off the glove and grabbed her hand.

  Scared, don't like you, you're the center of attention, knock it off all this, I don't believe you drowned out there, ridiculous, I want to get out of here, I, you should have called me.

  "Go on home, honey," he said.

  Sometime during the silent hours, one of the nurses slipped a silver pen into his hand. He'd been sound asleep. The gloves were on the table.

  "Tell me her name," she said.

  "I don't get her name. I see a desk."

  "Try harder."

  "A beautiful mahogany desk with a green blotter on it."

  "But the woman who used the pen?"

  "Allison."

  "Yes. Where is she?"

  "I don't know."

  "Try again."

  "I tell you I don't know. She gave it to you, and you put it in your purse, and this morning, you took it out. It's just images, pictures, I don't know where she is. You're in a cafe, and you're drawing on the napkin with the pen. You're thinking about showing it to me."

  "She's dead, isn't she?"

  "I don't know, I told you. I don't see it. Allison, that's all I see. She wrote a grocery list with it, for Chrissakes, you want me to tell you what was on the list?"

  "You have to see more than that."

  "Well, I don't!" He put back on the gloves. Nothing was going to make him take them off again.

  He left the hospital the following day.

  The next three weeks were an agony. A couple of Coast Guard men called him, so did one of the ambulance drivers, but they had nothing really to tell him that would help. As for the rescue boat, the woman wanted to remain out of it. And Dr. Morris had promised her that she would. Meantime, the Coast Guard admitted to the press that they had failed to record the name of the craft or its registry. One of the newspapers referred to it as an ocean-going cruiser. Maybe it was on the other side of the world.

  Michael realized by this time that he had told his story to too many people. Every popular magazine in the country wanted to talk to him. He could not go out at all without a reporter blocking his path and some perfect stranger placing a wallet or photograph in his hand, and the phone wouldn't stop ringing. Mail piled up at the door, and though he kept packing his suitcase to leave, he could not bring himself to
do it. Instead he drank--ice-cold beer all day long, then bourbon when the beer did not make him numb.

  His friends tried to be loyal. They took turns talking to him, trying to calm him, trying to get him to lay off the drink, but it was no good. Stacy even read to him because he couldn't read himself. He was wearing everybody down and he knew it.

  The fact was, his brain was teeming. He was trying to figure things out. If he couldn't remember, he could understand about all this, this earthshaking thing, this awful thing. But he knew he was rambling on and on about "life and death," about what had happened "out there," about the way the barriers between life and death were crumbling in our popular art and in our serious art. Hadn't anybody noticed? Movies and novels always told you what was going on. You just had to study them to see it. Why, he'd seen it before this even happened.

  Take Bergman's film Fanny and Alexander. Why, the dead just come walking in and talk to the living. And the same thing happened in Ironweed. In Cries and Whispers didn't the dead just get up and talk? And there was some comedy out now, and when you considered the lighter movies, it was happening with even greater frequency. Take The Woman in White, with the little dead girl appearing in the bedroom of the little boy, and there was Julia with Mia Farrow being haunted by that dead child in London.

  "Michael, you're bashed."

  "It isn't only horror movies, don't you see? It's happening in all our art. Take the book The White Hotel, any of you read that? Well, it goes on right past the heroine's death into the afterlife. I tell you, something is about to happen. The barrier is breaking down, I myself talked to the dead and I came back, and on some subconscious level we all know the barrier is breaking."

  "Michael, you have to calm down. This thing with the hands ... "

  "I don't want to talk about that." But he was bashed, that he had to admit, and he intended to stay bashed. He liked being bashed. He picked up the phone to order another case of beer. No need for Aunt Viv to go out for anything. And then there was all that Glenlivet Scotch he'd stashed away. And more Jack Daniel's. Oh, he could stay drunk till he died. No problem.

  By phone he finally shut down the company. When he'd tried to work, his men had told him pointedly to go home. They couldn't get anything done with his constant talking. He was hopping from subject to subject. And then there was the reporter standing there asking him to demonstrate the power for the woman from Sonoma County. And something else was plaguing him, too, which he could not confide to anyone: he was receiving vague emotional impressions from people whether he touched them or not.

  A certain free-floating telepathy it seemed; and there were no gloves to shut it off. It wasn't information he received; it was merely strong impressions of like, dislike, truth or falsehood. Sometimes he was so caught up in this, he only saw people's lips moving. He didn't hear their words at all.

  This highly charged intimacy, if that was the proper thing to call it, alienated him to the core.

  He let the contracts go, transferring everything in the space of an afternoon, making sure all his men got work, and then closing his small shop on Castro which sold vintage Victorian fixtures.

  It was OK to go indoors, to lie down, to pull the curtains, and drink. Aunt Viv sang in the kitchen as she cooked for him meals he didn't want to eat. Now and then he tried to read a little of David Copperfield, in order to escape from his own mind. At all the worst moments of his life, he had always retired to some remote corner of the world and read David Copperfield. It was easier and lighter than Great Expectations, his true favorite. But the only reason he could follow the book now was that he knew it practically by heart.

  Therese went to visit her brother in Southern California. A lie, he knew, though he had not touched the phone, merely heard the voice through the answering machine. Fine. Good-bye.

  When his old girlfriend Elizabeth called from New York, he talked to her until he actually passed out. The next morning she told him he must get psychiatric help. She threatened to drop work and fly out if he didn't agree. He agreed. But he was lying.

  He did not want to confide in anybody. He did not want to describe the new intensity of feeling. He certainly didn't want to talk about his hands. All he wanted to talk about were the visions, and nobody wanted to hear about that, nobody wanted to hear him talk about the curtain dropping that separated the living from the dead.

  After Aunt Viv went to bed, he experimented just a little with the touching power. He could tell a great deal from an object when he allowed himself to handle it slowly; if he asked questions of his power--that is, tried to direct it--he could receive even more. But he did not like the feel of it, of these images flashing through his head. And if there was a reason he had been given this sensitivity, the reason was forgotten along with the vision, and the sense of purpose regarding his return to life.

  Stacy brought him books to read about others who had died and come back. Dr. Morris at the hospital had told him of these works--the classic studies of the "near death experience" by Moody, Rawlings, Sabom, and Ring. Fighting the drunkenness, the agitation, the sheer inability to concentrate for any length of time, he forced himself through some of these accounts.

  Yes, he knew this! It was all true. He too had risen out of his body, yes, and it was no dream, yes, but he had not seen a beautiful light; he had not been met by dead loved ones; and there had been no unearthly paradise to which he was admitted, full of flowers and beautiful colors. Something altogether different had happened out there. He had been intercepted as it were, appealed to, made to realize that he must perform a very difficult task, that much depended upon it.

  Paradise. The only paradise he had ever known was in the city where he'd grown up, the warm sweet place he'd left when he was seventeen, that old great square of some twenty-five-odd city blocks known in New Orleans as the Garden District.

  Yes, back there, where it all started. New Orleans which he hadn't seen since the summer of his seventeenth year. And the funny thing was, that when he considered his life, as drowning men are supposed to do, he thought first and foremost of that long-ago night when, at age six, he had discovered classical music on his grandmother's back porch, listening in the fragrant dusk to an old tube radio. Four o'clocks glowing in the dark. Cicadas grinding in the trees. His grandfather was smoking a cigar on the step, and then that music came into his life, that heavenly music.

  Why had he loved that music so much when nobody around him did? Different from the start, that's what he'd been. And his mother's breeding could not account for it. To her all music was noise, she said. Yet he had loved that music so much that he stood there conducting it with a stick, making great sweeping gestures in the dark, humming.

  It was in the Irish Channel that they lived, hardworking people, the Currys, and his father was the third generation to inhabit the small double cottage in the long waterfront neighborhood where so many of the Irish had settled. From the great potato famine Michael's ancestors had fled, packed into the emptied cotton ships on their way back from Liverpool to the American South for the more lucrative cargo.

  Into the "wet grave" they'd been dumped, these hungry immigrants, some of them dressed in rags, begging for work, and dying by the hundreds from yellow fever, consumption, and cholera. The survivors had dug the city's mosquito-infested canals. They had stoked the boilers of the big steamboats. They had loaded cotton onto ships and worked on the railroads. They had become policemen and firemen.

  These were tough people, people from whom Michael had inherited his powerful build, his determination. The love of working with his hands had come from them and finally prevailed in spite of years of education.

  He'd grown up hearing tales of those early days, of how the Irish workingmen themselves had built the great parish church of St. Alphonsus, dragging the stones from the river, laying the mortar, collecting for the beautiful statues that came from Europe. "We had to outdo the Germans, you see, you know they were building St. Mary's right across the street. Nothing on earth was
going to make us go to Mass with each other." And that's why there were two magnificent parish churches instead of one, with Masses being said by the very same staff of priests every morning.

  Michael's grandfather had worked as a policeman on the wharves, where his father had once loaded cotton bales. He took Michael to see the banana boats come in and the thousands of bananas disappearing into the warehouse on the conveyor belts, warning him about the big black snakes that could hide in the banana stalks right until they hung them up in the markets.

  Michael's father was a fire fighter until his death one afternoon in a fire on Tchoupitoulas Street when Michael was seventeen. That had been the turning point of Michael's life, for by that time his grandparents were gone, and his mother had taken him back with her to the place of her birth, San Francisco.

  There was never the slightest doubt in his mind that California had been good to him. The twentieth century had been good to him. He was the first of that old clan ever to earn a college degree, ever to live in the world of books or paintings or fine houses.

  But even if his dad had never died, Michael's life would not have been a fireman's life. There were things stirring in him that had not ever stirred at all, it seemed, in his forebears.

  It wasn't just the music that summer night. It was the way he loved books from the time he learned to read, how he gobbled up Dickens when he was nine years old, and treasured ever after the novel Great Expectations.

  Years later in San Francisco he had given his beloved construction company that name: Great Expectations.

  He used to fall into Great Expectations or David Copperfield in the school library where other boys threw spitballs and punched him on the arm and threatened to beat him up if he didn't stop acting "simple," the Irish Channel word for someone who did not have the good sense to be hard, and brutal, and disdaining of all things that defy immediate definition.

  But nobody ever beat up Michael. He had enough healthy meanness from his father to punish anyone who even tried. Even as a child he was husky and uncommonly strong, a human being for whom physical action, even of a violent sort, was fairly natural. He liked to fight too. And the kids learned to leave him alone, and also he learned to hide his secret soul enough that they forgave him the few slips and generally liked him.