Robert Coover - A Night at the Movies Or, You Must Remember This

She clings to the edge of the cliff, her feet kicking in the wind, the earth breaking away beneath her fingertips. There is a faint roar, as of crashing waves, far below. He struggles against his bonds, chewing at the ropes, throwing himself against the cabin door. She screams as the cliff edge crumbles, a scream swept away by the rushing wind. At last the door splinters and he smashes through, tumbling forward in his bonds, rolling and pitching toward the edge of the cliff. Her hand disappears, then reappears, snatching desperately for a fresh purchase. He staggers to his knees, his feet, plunges ahead, the ropes slipping away like a discarded newspaper as he hails the approaching bus. She lets go, takes the empty seat. Their eyes meet. "Hey, ain't I seen you somewhere before?" he says.

She smiles up at him. "Perhaps."

"I got it." He takes the cigar butt out of his mouth. "You're a hoofer over at Mike's joint."

"Hoofer?"

"Yeah — the gams was familiar, but I couldn't place the face."

She smiles again, a smile that seems to melt his knees. He grabs the leather strap overhead. "I help out over at Father Michael's 'joint,' as you'd say, Lefty, but — "

"Father — ? Lefty! Wait a minute, don't tell me! You ain't that skinny little brat who useta — ?" It's her stop. She rises, smiling, to leave the bus. "Hey, where ya goin'? How'm I gonna see you again?"

She pauses at the door. "I guess you'll have to catch my act at Mike's joint, Lefty." She steps down, her skirts filling with the sudden breeze of the street, and, one hand at her knees, the other holding down her fluttering wide-brimmed hat, walks quickly toward the church, glancing up at him with a mischievous smile as the bus, starting up again, overtakes and passes her. Her body seems to slide backwards, past the bus windows, slipping from frame to frame as though out of his memory — or at least out of his grasp. "Wait!" The driver hesitates: he jams his gat to the mug's ear — she's like his last chance (he doesn't know exactly what he means by that, but he's thinking foggily of his mother, or else of his mother in the fog), and she's gone! The feeling of inexpressible longing she has aroused gives way to something more like fear, or grief, frustration (why is it that some things in the world are so hard, while others just turn to jelly?), anger, a penetrating loathing — how could she do this to him? He squeezes, his eyes narrowing. Everything stops. Even, for a moment, time itself. Then, in the distance, a police whistle is heard. He takes his hands away from her throat, lets her drop, and, with a cold embittered snarl, slips away into the foggy night streets, his cape fluttering behind him with the illusory suggestion of glamour.

There is a scream, the discovery of the body, the intent expression on the detective's face as, kneeling over her, he peers out into the swirling fog: who could have done such a heinous thing? The deeper recesses of the human heart never fail to astound him. "Looks like the Strangler again, sir — a dreadful business." "Yes…" "Never find the bastard on a night like this, he just dissolves right into it." "We'll find him, Sergeant. And don't swear." People speak of the heart as the seat of love, but in his profession he knows better. It is a most dark and mysterious labyrinth, where cruelty, suspicion, depravity, lewdness lurk like shadowy fiends, love being merely one of their more ruthless and morbid disguises. To prowl these sewers of the heart is to crawl through hell itself. At every turning, another dismaying surprise, another ghastly atrocity. One reaches out to help and finds one's arms plunged, up to the elbows, in viscous unspeakable filth. One cries out — even a friendly "Hello!" — and is met with ghoulish laughter, the terrifying flutter of unseen wings. Yet, when all seems lost, there is always the faint glimmer of light in the distance, at first the merest pinprick, but soon a glow reflecting off the damp walls, an opening mouth, then out into sunshine and green fields, a song in his heart, indeed on his lips, and on hers, answering him across the hills, as they run toward each other, arms outspread, clothing flowing loosely in the summery breeze.

They run through fields of clover, fields of sprouting wheat, fields of waist-high grasses that brush at their bodies, through reeds, thick rushes, hanging vines. He is running through a sequoia forest, a golden desert, glittering city streets, she down mountainsides, up subway stairs, across spotlit stages and six-lane highways. Faster and faster they run, their song welling as though racing, elsewhere, toward its own destination, the backgrounds meanwhile streaking by, becoming a blur of flickering images, as if he and she in their terrible outstretched urgency were running in place, and time were blowing past them like the wind, causing her long skirts to billow, his tie to lift and flutter past his shoulder, as they stare out on the vast rolling sea from the ship's bow, arms around each other's waists, lost for a moment in their thoughts, their dreams, the prospect of a new life in the New World, or a new world (where exactly are they going?). "We're going home," he says, as though in reply to her unspoken (or perhaps spoken) question. "We'll never have to run again."

"It hardly seems possible," she sighs, gazing wistfully at the deepening sunset toward which they seem to be sailing.

Their reverie is rudely interrupted when pirates leap aboard, rape the woman, kill the man, and plunder and sink the ship — but not before the woman, resisting the violent advances of the peg-legged pirate captain, bites his nose off. "Whud have you dud?!" he screams, clutching the hole in his face and staggering about the sinking ship on his wooden peg. The woman, her fate sealed (already the cutlass that will decapitate her is whistling through the briny air), chews grimly, grinding the nose between her jaws like a cow chewing its cud, the sort of cow she might — in the New World and in a better, if perhaps less adventurous, life — have had, a fat old spotted cow with swollen udder and long white teats, teats to be milked much like a man is milked, though less abundantly. Of course, what does she know about all that, stuck out on this desolate windblown ranch (listen to it whistle, it's enough to take your head off) with her drunken old father and dimwit brothers, who slap her around for her milkmaid's hands, saying they'd rather fuck a knothole in an unplaned board — what's "fuck"? How will she ever know? How can she, cut off from all the higher things of life like finishing schools and sidewalks and floodlit movie palaces and world's fairs with sky-rides and bubble dancers and futuramas? But just wait, one day…! she promises herself, tugging tearfully on the teats. She leans against Old Bossy's spotted flank and seems to see there before her nose a handsome young knight in shining armor, or anyway a clean suit, galloping across the shaggy prairie, dust popping at his horse's hooves, coming to swoop her up and take her away from all this, off to dazzling cities and exotic islands and gay soirees. She sees herself suddenly, as a ripple courses like music through Bossy's flank, aswirl in palatial ballrooms (the dance is in her honor!) or perhaps getting out of shining automobiles and going into restaurants with tuxedoed waiters who bend low and call her "Madame" (the milk squirting into the bucket between her legs echoes her excitement, or perhaps in some weird way is her excitement), or else she's at gambling tables or lawn parties, at fashion shows and horse races, or, best of all, stretched out in vast canopied beds where servants, rushing in and out, bring her all her heart's desires.

But no, no, she sees nothing at all there, all that's just wishful thinking — some things in this world are as hard and abiding as the land itself, and nothing more so than Bossy's mangy old rump, even its stink is like some foul stubborn barrier locking her forever out here on this airless prairie, a kind of thick muddy wall with rubbery teats, a putrid dike holding back the real world (of light! she thinks, of music!), a barricade of bone, a vast immovable shithouse, doorless and forlorn, an unscalable rampart humped up into the louring sky, a briary hedgerow, farting citadel, trench and fleabitten earthworks all in one, a glutinous miasma (oh! what an aching heart!), a no-man's-land, a loathsome impenetrable forest, an uncrossable torrent, a bottomless abyss, a swamp infested with the living dead, their hands clawing blindly at the hovering gloom, the air pungent with rot. He staggers through them, gasping, terrified, the quicksand sucking at his feet, toothless gums gnawing at his elbows, trying to remember how it is he ended up out here — some sort of fall, an airplane crash, an anthropological expedition gone sour, shipwreck, a wrong turn on the way to the bank? Certainly he is carrying a lot of money, a whole bucketful of it — he throws it at them and they snatch it up, stuffing it in their purulent jaws like salad, chewing raucously, the bills fluttering obscenely from their mouths and the holes in their flaking cheeks.