Cycle of the Werewolf

Alfie wheels around and his hip knocks the coffee urn off the shelf. It hits the floor with a bang and sprays hot coffee everywhere, burning his ankles. He cries out in pain and fear. Yes, he is afraid now, his two hundred and twenty pounds of good Navy muscle are forgotten now, his nephew Ray is forgotten now, his back seat coupling with Arlene McCune is forgotten now, and there is only the Beast, here now like some horror-monster in a drive-in movie, a horror-monster that has come right out of the screen.

It leaps on top of the counter with a terrible muscular ease, its slacks in tatters, its shirt in rags. Alfie can hear keys and change jingling in its pockets.

It leaps at Alfie, and Alfie tries to dodge, but he trips over the coffee urn and goes sprawling on the red linoleum. There is another shattering roar, a flood of warm yellow breath, and then a great red pain as the creature's jaws sink into the deltoid muscles of his back and rip upward with terrifying force. Blood sprays the floor, the counter, the grille.

Alfie staggers to his feet with a huge, ragged, spraying hole in his back; he is trying to scream, and white moonlight, summer moonlight, floods in through the windows and dazzles his eyes.

The Beast leaps on him again.

Moonlight is the last thing Alfie sees.

JULY

They cancelled the Fourth of July.

Marty Coslaw gets remarkably little sympathy from the people closest to him when he tells them that. Perhaps it is because they simply don't understand the depth of his pain.

“Don't be foolish,” his mother tells him brusquely-she is often brusque with him, and when she has to rationalize this brusqueness to herself, she tells herself she will not spoil the boy just because he is handicapped, because he is going to spend his life sitting in a wheelchair.

“Wait until next year!” his dad tells him, clapping him on the back. “Twice as good! Twice as doodly-damn good! You'll see, little bitty buddy! Hey, hey!”

Herman Coslaw is the phys ed teacher at the Tarker's Mills grammar school, and he almost always talks to his son in what Marty thinks of as dad's Big Pal voice. He also says “Hey, hey!” a great deal. The truth is, Marty makes Herman Coslaw a little nervous. Herman lives in a world of violently active children, kids who run races, bash baseballs, swim rally sprints. And in the midst of directing all this he would sometimes look up and see Marty, somewhere close by, sitting in his wheelchair, watching. It made Herman nervous, and when he was nervous, he spoke in his bellowing Big Pal voice, and said “Hey, hey!” or “doodly-damn” and called Marty his “little bitty buddy.”

“Ha-ha, so you finally didn't get something you wanted!” his big sister says when he tries to tell her how he had looked for-ward to this night, how he looks forward to it every year, the flowers of light in the sky over the Commons, the flashgun pops of brightness followed by the thudding KER-WHAMP! sounds that roll back and forth between the low hills that surrounded the town. Kate is thirteen to Marty's ten, and convinced that everyone loves Marty just because he can't walk. She is delighted that the fireworks have been cancelled.

Even Grandfather Coslaw, who could usually be counted on for sympathy, hadn't been impressed. “Nobody is cancellin der fort of Choo-lie, boy,” he said in his heavy Slavic accent. He was sitting on the verandah, and Marty buzzed out through the french doors in his battery-powered wheelchair to talk to him. Grandfather Coslaw sat looking down the slope of the lawn toward the woods, a glass of schnapps in one hand. This had happened on July 2, two days ago. “It's just the fireworks they cancel. And you know why.”

Marty did. The killer, that was why. In the papers now they were calling him The Full Moon Killer, but Marty had heard plenty of whispers around school before classes had ended for the summer. Lots of kids were saying that The Full Moon Killer wasn't a real man at all, but some sort of supernatural creature. A werewolf, maybe. Marty didn't believe that-werewolves were strictly for the horror movies-but he supposed there could be some kind of crazy guy out there who only felt the urge to kill when the moon was full. The fireworks have been cancelled because of their dirty rotten curfew.

In January, sitting in his wheelchair by the french doors and looking out onto the verandah, watching the wind blow bitter veils of snow across the frozen crust, or standing by the front door, stiff as a statue in his locked leg-braces, watching the other kids pull their sleds toward Wright's Hill, just thinking of the fireworks made a difference. Thinking of a warm summer night, a cold Coke, of fire-roses blooming in the dark, and pinwheels, and an American flag made of Roman candles.

But now they have cancelled the fireworks… and no matter what anyone says, Marty feels that it is really the Fourth itself his Fourth-that they have done to death.

Only his Uncle Al, who blew into town late this morning to have the traditional salmon and fresh peas with the family, had understood. He had listened closely, standing on the verandah tiles in his dripping bathing suit (the others were swimming and laughing in the Coslaws' new pool on the other side of the house) after lunch.

Marty finished and looked at Uncle Al anxiously.

“Do you see what I mean? Do you get it? It hasn't got anything to do with being crippled, like Katie says, or getting the fireworks all mixed up with America, like Granpa thinks. It's just not right, when you look forward to something for so long… it's not right for Victor Bowle and some dumb town council to come along and take it away. Not when it's something you really need. Do you get it?”

There was a long, agonizing pause while Uncle Al considered Marty's question. Time enough for Marty to hear the kick-rattle of the diving board at the deep end of the pool, followed by Dad's hearty bellow: “Lookin' good, Kate! Hey, hey! Lookin' reeeeeel… good!”

Then Uncle Al said quietly: “Sure I get it. And I got something for you, I think. Maybe you can make your own Fourth.”

“My own Fourth? What do you mean?”

“Come on out to my car, Marty. I've got something… well, I'll show you.” And he was striding away along the concrete path that circled the house before Marty could ask him what he meant.

His wheelchair hummed along the path to the driveway, away from the sounds of the pool-splashes, laughing screams, the kathummmm of the diving board. Away from his father's booming Big Pal voice. The sound of his wheelchair was a low, steady hum that Marty barely heard-all his life that sound, and the clank of his braces, had been the music of his movement.

Uncle Al's car was a low-slung Mercedes convertible. Marty knew his parents disapproved of it (“Twenty-eight-thousand-dollar deathtrap,” his mother had once called it with a brusque little sniff), but Marty loved it. Once Uncle Al had taken him for a ride on some of the back roads that crisscrossed Tarker's Mills, and he had driven fast-seventy, maybe eighty. He wouldn't tell Marty how fast they were going. “If you don't know, you won't be scared,” he had said. But Marty hadn't been scared. His belly had been sore the next day from laughing.

Uncle Al took something out of the glove-compartment of his car, and as Marty rolled up and stopped, he put a bulky cellophane package on the boy's withered thighs. “Here you go, kid,” he said. “Happy Fourth of July.”

The first thing Marty saw were exotic Chinese markings on the package's label. Then he saw what was inside, and his heart seemed to squeeze up in his chest. The cellophane package was full of fireworks.

“The ones that look like pyramids are Twizzers,” Uncle Al said.

Marty, absolutely stu