The Complete Drive-In (13 page)
Read The Complete Drive-In Online
Authors: Joe R. Lansdale
When he was through firing, Willard lowered the gun and looked down. His stomach bulged. The tiger tattoo stretched its neck. Shoulders appeared, then a foreleg poked out. It was as if the tiger were climbing out of a deep, inky well. Another foreleg showed. The cat leaned forward, touched both feet to the ground, pulled the rest of his body out of Willard’s stomach, growing in size as it did. It stood momentarily in front of Randy and Willard and swished its tail. Then, with a roar, it went after the biker who had been injured early on, grabbed him around the head with its jaws and bit down with a sound like a duck egg being swatted with a mallet. That was all for the biker.
The tiger pulled the biker inside the concession by what was left of his head (pieces were dropping here and there like china fragments) while Willard held the door open. The tiger deposited the stiff inside, came back out licking its lips. A paper bat exited with it, fluttered up beyond the blue glow, then flapped down again and went back inside the concession. Two skulls rolled into the doorway, looked out with empty eye sockets, chattered their teeth like sidewinder rattles, then rolled out of sight, not even venturing out of doors.
The tiger, as it moved outside the influence of the blue light, softened in color until it was almost light gray; it looked weaker. Then, as it returned, dragging another body by the noggin, it would gradually darken and hold its head higher, and finally, within the confines of the blue glow, it would turn its true color and look strong again.
As each corpse passed through the doorway, I became aware of a black dot, like a bee that had been in hiding, leaping from the bodies and going into Willard’s bandolier—little bullets returning to their nests.
Finished with its work, the tiger jumped at Willard and it was as if someone had tossed a can of black paint. The beast splattered against Willard’s stomach, made a blot that dripped like hot tar. Its whiskers twitched and it showed its teeth, then it went still and was nothing more than a vivid tattoo.
The other tattoos on Willard’s body (they had been thrashing and lashing about) followed suit. The last of them to lie down were EAT PUSSY and KICK ASS. They had been walking across Willard’s upper arms like tall, stiff ants.
Randy continued to look peaceful up there on Willard’s shoulders, like a real estate agent who had just closed a big deal. I looked for a sign of my friend in that wrecked one-eyed face, but saw not a clue.
Willard and Randy lifted a hand and waved to the left, then to the right. From my position I could see a few people waving back—reflex reaction, or maybe after seeing what these guys could do, they just felt friendly.
The mouth that belonged to Randy opened and a powerful voice came out. “I am the Popcorn King, and my rein has begun. I will take care of you.”
“That’s damn nice of him,” Bob said.
Then the King ceased to wave and went inside the electrified concession. And so began the reign of the Popcorn King.
PART TWO
THE POPCORN KING
With Scabcorn and Other Bad Stuffs
The Popcorn King was happy.
He was a smiley kind of guy—with both mouths and he could talk that trash. I mean, say you’re in this little universe of the drive-in, and maybe we should say the smaller universe of your car or truck, and all you’ve got is movies. You got no real food, and you got soft drinks for liquid, you’re hypoglycemic to the max and your hope don’t work no more. All you got is this voice, sleek as a starlet’s thighs, soft as duck fluff, as intoxicating as rum and honey. A voice that oozes out of the speaker and flows in your ears, jells around your brain like candied fruit.
The voice of the Popcorn King, telling you how it is, offering you
truth
, telling you he loves you and will feed you and take care of you, and all you’ve got to do is love him back, and all you’ve got to do is understand that what you see on the screens are the visions of gods, the way it is, ole buddy, and the manner in which you should live, for so speaks the messiah, the Popcorn King.
truth
, telling you he loves you and will feed you and take care of you, and all you’ve got to do is love him back, and all you’ve got to do is understand that what you see on the screens are the visions of gods, the way it is, ole buddy, and the manner in which you should live, for so speaks the messiah, the Popcorn King.
Yeah, the Popcorn King was happy.
And he was crazy.
And he helped make everyone else more crazy than they had become.
Back up.
Speculate.
This is how I think it came about; the birth of the Popcorn King.
So Willard and Randy go up on the roof during the storm, wandering up there because they are nuts on junk food and high on a kind of love for one another that isn’t quite homosexual, nor exactly the passion of friendship. They’re parasites feeding off one another, trying to make something whole out of two halves.
They wander up there on the roof after they have cleared out the concession with the knife, after they have killed. And maybe somewhere deep down, they realize this is something they don’t like, this killing. Or maybe, like me, they’re so high on sugar it all seems okey-dokey. Or maybe they just didn’t give a fuck all along.
Well, you add all that together, toss in their insecurities, and what you have here are a couple of buddies a couple bricks shy a full load. Or to put it in Yankee terms, “They are on the verge of a nervous breakdown.”
There’s this storm, and it crackles and hisses and fizzles and pops, brightens the sky. Sheet-metal thunder rolls. And these guys up there on the roof are working off little more than the impulses of the primitive brain; that part that takes care of raw survival.
And so they yell at the storm (they don’t like the noise, see), call it names. And perhaps by design, because the B-string gods up there are looking for a twist in the plot, or maybe they just don’t like being talked to like that . . . and maybe there are no B-string gods and my dreams were just dreams and Bob and I only thought we saw tentacles poking out of the blackness and it’s nothing more than an accident that this bolt pops out and zaps the living shit out of our boys, makes them one creature full of power.
Down through the trap they go, smoking like bacon too long in a pan. And they are no longer angry and confused, but they’re not just well done either. They have been given power, and this power has straightened their confused asses right out. It has moved through them like a quick, happy cancer, spreading little roots of energy from head to head, from toes to toes.
They are one sho’-ugly critter now, but they are not aware of that. They feel pretty. In their mind’s eye they are darling. So sweet with that one eye in the center of the top forehead, and the other head without eyes, just two gaps dripping ooze, puffing smoke.
Their brains no longer work independently of one another; this happy cancer has spread its tendrils through them so that their gray matter operates as one. Randy’s eyes are Willard’s eyes. Willard’s muscles respond to Randy’s needs. So, instead of
they
and
them
, these two are now one, and say at his feet are a few stray popcorn kernels that are blossoming in the electrical current, popping high up to greet him (“take me, take me”), and he thinks, uh-huh, happy little subjects, these popcorns, and he names himself the Popcorn King.
they
and
them
, these two are now one, and say at his feet are a few stray popcorn kernels that are blossoming in the electrical current, popping high up to greet him (“take me, take me”), and he thinks, uh-huh, happy little subjects, these popcorns, and he names himself the Popcorn King.
The Popcorn King is very happy because he feels as if he has been told the ultimate joke by the ultimate jokester, and he has understood the punch line perfectly.
He knows now he is the Chosen One. Feels that what led him up that ladder, onto the roof, was more than just confusion. It was ordained. Destiny.
Yeah, that’s it. He thinks it again. Destiny.
He can feel a network of raw power spiraling through him, replacing the blood and bones inside him with something new; something that makes him master of his flesh (tattoos wiggle like maggots in dung).
The air around him hums (no particular tune) with that blue electrical current. (And while I’m hypothesizing here, sports fans, let’s have some of those paper bats—now real—flap around his head, let’s have some paper skulls—now real—roll at his feet and nip at his heels like happy pups.) He walks among the carnage of the concession, sees:
the manager with his face through the counter glass, his blood having splashed the wrapped and boxed candies and congealed like cold gravy;
the little girl that was kicked to death, looking like strawberry pulp;
other dead folks, including the Candy Girl (later I would see her corpse in the window, hanging there like a prize cold cut in a butcher’s display);
and he moves through the blue air, into the film room, (the bats at his head, the skulls at his feet), sees that there are three projectors, pointing like ray guns in three directions at three six-story screens.
He goes over to one of the little slots by one of the projectors and looks out, sees
The Texas Chainsaw Massacre.
He goes to another and looks out, sees the tail end of
I Dismember Mama.
He examines the last projector slot, sees
The Toolbox Murders.
The Texas Chainsaw Massacre.
He goes to another and looks out, sees the tail end of
I Dismember Mama.
He examines the last projector slot, sees
The Toolbox Murders.
He sighs contentedly. This is his domain. His throne room. His damn concession stand. And all those people out there watching those movies are his subjects. He is their King, their Popcorn King. And he is a fun kind of guy.
But what’s this? A bunch of fat men on motorcycles are riding around and around in circles out front of his palace, calling him names (had one of them actually called him “dog puke”? Sure sounded like it), yelling for him to come out.
The little people are upset. A rebellion is brewing. The peasants are revolting.
Time to nip this crap in the bud.
So he steps out with the gun fused to his hand, the tattoos shucking and jiving like snakes on hot glass . . .
And from there, I have given you an eyewitness account.
When it was over and the tattoos had settled down, and the King had waved, he went inside the concession and closed the door. And Bob went out of the back of the camper, sneaky-like, cranked the truck, turned right, bumped over the dead biker and his bike, worked us to the far end, turned right at the fence, found a front row in what was called the East Screen of Lot A. We parked in a slot next to a big yellow bus with CHRIST IS THE ANSWER IF YOU ASK THE QUESTION, THAT’S WHAT I’M TRYING TO TELL YOU written messily on the side in what looked like rust-colored paint. And underneath in dirty-white letters, much smaller, was AIN’T BEING A BAPTIST GRAND?
On the other side of us was an old Ford. It looked empty. The occupants were probably dead, or had joined up with some others and gone to a new location.
Bob got a speaker off the post, more out of habit than anything else, put it in the window, turned the dial high as it would go, and we watched, or rather looked at,
The Evil Dead.
Ash, the character in the movie, was sticking his hand into a mirror, and the mirror had turned into some kind of liquid.
The Evil Dead.
Ash, the character in the movie, was sticking his hand into a mirror, and the mirror had turned into some kind of liquid.
We sat there feeling numb until Bob said, “I don’t think coming over here is going to help much, but I’m sort of in the mood for a change of scenery . . . Maybe out of sight, out of mind ... And I don’t think his tattoos can come this far . . . too much distance between the concession and us.”
“Agreed,” I said.
It wasn’t much, but comparatively, this was the best part of the drive-in for us to hide out. For some reason, East Screen had had a lot less badness going on. There had certainly been some stuff happening over there; Crier, who knew everything had told us about it, but compared to the rest of Lot A, and certainly B, it was pretty tame business.
The movies changed as usual, and I could imagine the Popcorn King in the film room, going from projector to projector, switching them as needed. (Didn’t he need sleep?) That part of Willard that had been a projectionist was coming into play; he knew how to keep things going.
Bob and I dozed a lot, and when we were so hungry we couldn’t take it anymore, we’d go to the camper and lie down and eat, chewing slowly, sometimes talking if we had something to say, listening to the movies filtering into the camper from the speaker in the cab window. It got so I was having a hard time remembering what life was like before the drive-in. I could remember Mom and Dad, but couldn’t quite see their faces, recall how they moved or talked. I couldn’t remember friends, or even girlfriends whose faces had haunted my dreams at home. My past was fading like cold breath on a mirror.
And the movies rolled on.
At certain intervals, the old yellow bus next door to us would crack its back door, and out of it would come this rail-thin man in a black coat, white shirt and dark tie, and with him was this bony, broad-shouldered, homely woman in a flowered housedress and false leather slippers. She walked without picking her feet up much.
They’d walk toward the center of the row, and there would be others there, and they would form a crowd, and the man in the black coat, white shirt and dark tie would go before them and talk, move his arms a lot, strut back and forth like a bantam rooster. He’d point at the movies now and then, then at the group. He’d hop up and down and stretch his facial muscles and toward the end of this little exercise he’d be into much hand-waving you’d think he was swatting marauding bees.
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