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The Exorcistby William Peter Blatty
Like the brief doomed flare of exploding suns that registers dimly on blind men's eyes, the beginning of the horror passed almost unnoticed; in the shriek of what followed, in fact, was forgotten and perhaps not connected to the horror at all. it was difficult to judge.
The house was a rental. Brooding. Tight. A brick colonial ripped by ivy in the Georgetown section of Washington, D.C. Across the street, was a fringe of campus belonging to Georgetown University; to the rear, a sheer embankment plummeting steep to busy M Street and, beyond, the muddy Potomac. Early on the morning of April 1, the house was quiet. Chris MacNeil was propped in bed, going over her lines for the next day's filming; Regan, her daughter, was sleeping down the hall; and asleep downstairs in a room off the pantry were the middle-aged housekeepers, Willie and Karl. At approximately 12:25 A.M., Chris glanced from her script with a frown of puzzlement. She heard rapping sounds. They were odd. Muffled. Profound. Rhythmically clustered. Alien code tapped out by a dead man.
She listened for a moment; then dismissed it; but as the rappings persisted she could not concentrate. She slapped down the script on the bed.
"Jesus, that bugs me!"
She got up to investigate.
She went out to the hallway and looked around. It seemed to be coming from Regan's bedroom.
"What is she doing?"
She padded down the hall and the rappings grew suddenly louder, much faster, and as she pushed on the door and stepped into the room, they abruptly ceased.
"What the heck's going on?"
Her pretty eleven-year-old was asleep, cuddled tight to a large stuffed round-eyed panda. Pookey. Faded from years ofsmothering; years of smacking, warm, wet kisses.
Chris moved softly to her bedside and leaned over for a whisper. "Rags? You awake?"
Regular breathing. Heavy. Deep.
Chris shifted her glance around the room. Dim light from the hall fell pale and splintered on Regan's paintings; on Regan's sculptures; on more stuffed animals.
"Okay, Rags. old mother's ass is draggin'. Say it. "April Fool!""
And yet Chris knew it wasn't like her. The child had a shy and very diffident nature. Then who was the trickster? A somnolent mind imposing order on the rattlings of heating pipes or plumbing? Once, in the mountains of Bhutan, she had stared for hours at a Buddhist monk who was squatting on the ground in meditation. Finally, she thought she had seen him levitate. Perhaps. Recounting the story to someone, she invariably added "perhaps." And perhaps her mind, that untiring raconteur of illusion, had embellished the rappings.
"Bullshit! I heard it!"
Abruptly, she flicked a quick glance to the ceiling. There! Faint scratchings.
"Rats in the attic, for pete's sake! Rats!"
She sighed. "That's it. Big tails. Thump, thump." She felt oddly relieved. And then noticed the cold. The room. It was icy.
She padded to the window. Checked it. Closed. She touched the radiator. Hot.
Puzzled, she moved to the bedside and touched her hand to Regan's cheek. It was smooth as thought and lightly perspiring
"I must be sick!"
She looked at her daughter, at the turned-up nose and freckled face, and on a quick, warm impulse leaned over the bed and kissed her cheek. "I sure do love you," she whispered, then returned to her room and her bed and her script.
For a while, Chris studied.The film was a musical comedy remake of "Mr. Smith Goes to Washington." A subplot had been added dealing with campus insurrections. Chris was starring. She played a psychology teacher who sided with the rebels. And she hated it. "It's dumb! This scene is absolutely dumb!" Her mind, though untutored, never mistook slogans for truth, and like a curious bluejay she would peck relentlessly through verbiage to find the glistening, hidden fact. And so the rebel cause, to her, was "dumb." it didn't make sense. "How come?" she now wondered. "Generation gap? That's a crock, I'm thirty-two. It's just plain dumb, that's all, it's . . .!"
"Cool it. One more week."
They'd completed the interiors in Hollywood. All that remained were a few exterior scenes on the campus of Georgetown University, starting tomorrow. It was Easter vacation and the students were away.
She was getting drowsy. Heavy lids. She turned to a page that was curiously ragged. Bemused, she smiled. Her English director. When especially tense, he would tear, with quivering, fluttering hands, a narrow strip from the edge of the handiest page and then chew it, inch by inch, until it was all in a ball in his mouth.
She yawned, then glanced fondly at the side of her script. The pages looked gnawed. She remembered the rats. "The little bastards sure got rhythm." She made a mental note to have Karl set traps for them in the morning.
Fingers relaxing. Script slipping loose. She let it drop. "Dumb. It's dumb." A fumbling hand groping out to the light switch. "There." She sighed. For a time she was motionless, almost asleep; and then kicked off her covers with a lazy leg. Too "freaking hot."
A mist of dew clung softand gentle to the windowpanes.
Chris slept. And dreamed about death in the staggering particular, death as if death were still never yet heard of while something was ringing, she, gasping, dissolving, slipping off into void, thinking over and over, "I am not going to be, I will die, I won't be, and forever and ever, oh, Papa, don't let them, oh, don't let them do it, don't let me be nothing forever and" melting, unraveling, ringing, the ringing--
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