The Best of Robert Bloch (9 page)

"Mirror, mirror on the wall, who is the fairest oj them all?"

Mirrors told her the truth, mirrors did not lie, mirrors did not paw or clutch or whisper or demand in return for acknowledgement of beauty.

Years passed, but mirrors did not age, did not change. And Laura did not age. The callers were fewer and some of them were oddly altered. They seemed older, somehow. And yet how could that be? For Laura Bellman was still young. The mirrors said so, and they always told the truth. Laura spent more and more tune with the mirrors. Powdering, searching for wrinkles, tinting and curling her long hair. Smiling, fluttering eyelashes, making deliciously delicate little
moues
. Swirling daintily, posturing before her own perfection.

Sometimes, when the callers came, she sent word that she was not at home. It seemed silly, somehow, to leave the mirrors. And after a while, there weren't many callers to worry about. Servants came and went, some of them died, but there were always new ones. Laura and the mirrors remained. The nineties were truly gay, but in a way other people wouldn't understand. How Laura laughed, rocking back and forth on the bed, sharing her giddy secrets with the glass!

The years fairly flew by, but Laura merely laughed. She giggled and tittered when the servants spoke to her, and it was easier now to take her meals on a tray in her room. Because there was something wrong with the servants, and with Dr. Turner who came to visit her and who was always being tiresome about going away for a rest to a lovely home.

They thought she was getting old, but she wasn't— the mirrors didn't lie. She wore the false teeth and the wig to please the others, the outsiders, but she didn't really need them. The mirrors told her she was unchanged. They talked to her now, the mirrors did, and she never said a word. Just sat nodding and swaying before them in the room reeking of power and
patchouli
, stroking her throat and listening to the mirrors telling her how beautiful she was and what a belle she would be if she would only waste her beauty on the world. But she'd never leave here, never; she and the mirrors would always be together.

And then came the day they tried to take her away, and they actually laid hands upon her—upon her, Laura Bellman, the most exquisitely beautiful woman in the world! Was it any wonder that she fought, clawed and kicked and whined, and struck out so that one of the servants crashed headlong into the beautiful glass and struck his foolish head and died, his nasty blood staining the image of her perfection?

Of course it was all a stupid mistake and it wasn't her fault, and Dr. Turner told the magistrate so when he came to call. Laura didn't have to see him, and she didn't have to leave the house. But they always locked the door to her room now, and they took away all her mirrors.

They
took away
all her mirrors!

They left her alone, caged up, a scrawny, wizened, wrinkled old woman with no reflection. They took the mirrors away and made her old; old, and ugly, and afraid.

The night they did it, she cried. She cried and hobbled around the room, stumbling blindly in a tearsome tour of nothingness.

That's when she realized she was old, and nothing could save her. Because she came up against the window and leaned her wrinkled forehead against the cold, cold glass. The light came from behind her and as she drew away she could see her reflection in the window.

The window—it was a mirror, too! She gazed into it, gazed long and lovingly at the tear-streaked face of the fantastically rouged and painted old harridan, gazed at the corpse-countenance readied for the grave by a mad embalmer.

Everything whirled. It was her house, she knew every inch of it, from the day of her birth onwards, the house was a part of her. It was her room, she had lived here for ever and ever. But
this
—this obscenity—was not her face. Only a mirror could show her that, and there would never be a mirror for her again. For an instant she gazed at the truth and then, mercifully, the gleaming glass of the windowpane altered and once again she gazed at Laura Bellman, the proudest beauty of them all. She drew herself erect, stepped back, and whirled into a dance. She danced forward, a prim self-conscious smile on her lips. Danced into the windowpane, half-through it, until razored splinters of glass tore her scrawny throat.

That's how she died and that's how they found her. The Doctor came, and the servants and the Lawyer did what must be done. The house was sold, then sold again. It fell into the hands of a rental agency. There were tenants, but not for long. They had troubles with mirrors.

A man died—of a heart attack, they said—while adjusting his necktie before the bureau one evening. Grotesque enough, but he had complained to people in the town about strange happenings, and his wife babbled to everyone.

A school-teacher who rented the place in the twenties "passed away" in circumstances which Doctor Turner had never seen fit to relate. He had gone to the rental agency and begged them to take the place off the market; that was almost unnecessary, for the Bellman home had its reputation firmly established by now.

Wether or not Mary Lou Dempster had disappeared here would never be known. But the little girl had last been seen a year ago on the road leading to the house and although a search had been made and nothing discovered, there was talk aplenty.

Then the new heirs had stepped in, briskly, with their pooh-poohs and their harsh dismissals of advice, and the house had been cleaned and put up for rental.

So he and she had come to live there—with it. And that was the story, all of the story.

Mr. Hacker put his arm around Gwen, harrumphed, and helped her rise. He was apologetic, he was shamefaced, he was deferential. His eyes never met those of his tenant.

He barred the doorway. "We're getting out of here, right now," he said. "Lease or no lease."

"That can be arranged. But—I can't find you another place tonight, and tomorrow's Sunday—"

"We'll pack and get out of here tomorrow," she spoke up. "Go to a hotel, anywhere. But we're leaving."

"I'll call you tomorrow," said Hacker. "I'm sure everything will be all right. After all, you've stayed here through the week and nothing, I mean nobody has—"

His words trailed off. There was no point in saying any more. The Hackers left and they were all alone. Just the two of them.

Just the
three
of them, that is.

But now they—he and she—were too tired to care. The inevitable letdown, product of overindulgence and over-excitement, was at hand.

They said nothing, for there was nothing to say. They heard nothing, for the house—and it—maintained a somber silence.

She went to her room and undressed. He began to walk around the house. Fkst he went to the kitchen and

opened a drawer next to the sink. He took a hammer and smashed the kitchen mirror.

Tinkle-tinkle! And then a crash! That was the mirror in the hall. Then upstairs, to the bathroom. Crash and clink of broken glass in the medicine cabinet. Then a smash as he shattered the panel in his room. And now he came to her bedroom and swung the hammer against the huge oval of the vanity, shattering it to bits.

He wasn't cut, wasn't excited, wasn't upset. And the mirrors were gone. Every last one of them was gone.

They looked at each other for a moment. Then he switched off the lights, tumbled into bed beside her, and sought sleep.

The night wore on.

It was all a little silly in the daylight. But she looked at him again in the morning, and he went into his room and hauled out the suitcases. By the tune she had breakfast ready he was already laying his clothes out on the bed. She got up after eating and took her own clothes from the drawers and hangers and racks and hooks. Soon he'd go up to the attic and get the garment bags. The movers could be called tomorrow, or as soon as they had a destination in mind.

The house was quiet. If it knew their plans, it wasn't acting. The day was gloomy and they kept the lights off without speaking—although both of them knew it was because of the windowpanes and the story of the reflection. He could have smashed the window glass of course, but it was all a little silly. And they'd be out of here shortly.

Then they heard the noise. Trickling, burbling. A splashing sound. It came from beneath their feet. She gasped.

"Water-pipe—in the basement," he said, smiling and taking her by the shoulders.

"Better take a look." She moved towards the stairs.

"Why should you go down there? I'll tend to it."

But she shook her head and pulled away. It was her penance for gasping. She had to show she wasn't afraid. She had to show him—and it, too.

"Wait a minute," he said. "I'll get the pipe-wrench. It's in the trunk in the car." He went out the back door. She stood irresolute, then headed for the cellar stairs. The splashing was getting louder. The burst pipe was flooding the basement. It made a funny noise, like laughter.

He could hear it even when he walked up the driveway and opened the trunk of the car. These old houses always had something wrong with them; he might have known it. Burst pipes and—

Yes. He found the wrench. He walked back to the door, listening to the water gurgle, listening to his wife scream.

She
was
screaming! Screaming down in the basement, screaming down in the dark.

He ran, swinging the heavy wrench. He clumped down the stairs, down into the darkness, the screams tearing up at him. She was caught, it had her, she was struggling with it but it was too strong, too strong, and the light came streaming in on the pool of water beside the shattered pipe and in the reflection he saw her face and the blackness of other faces swirling around her and holding her.

He brought the wrench up, brought it down on the black blur, hammering and hammering and hammering until the screaming died away. And then he stopped and looked down at her. The dark blur had faded away into the reflection of the water—the reflection that had evoked it. But she was still there, and she was still, and she would be still forever now. Only the water was getting red, where her head rested in it. And the end of the wrench was red, too.

For a moment he started to tell her about it, and then he realized she was gone. Now there were only the two of them left. He and it.

And he was going upstairs. He was walking upstairs, still carrying the bloody wrench, and he was going over to the phone to call the police and explain.

He sat down in a chair before the phone, thinking about what he'd tell them, how he'd explain. It wouldn't be easy. There was this madwoman, see, and she looked into mirrors until there was more of her alive in her reflection than there was in her own body. So when she committed suicide she lived on, somehow, and came alive in mirrors or glass or anything that reflected. And she killed others or drove them to death and their reflections were somehow joined with hers so that this thing kept getting stronger and stronger, sucking away at life with that awful core of pride that could live beyond death. Woman, thy name is vanity! And that, gentleman, is why I killed my wife.

Yes, it was a fine explanation, but it wouldn't hold water.
Water
—the pool in the basement had evoked it. He might have known it if only he'd stopped to think, to reflect.
Reflect
. That was the wrong word, now. Reflect. The way the windowpane before him was reflecting.

He stared into the glass now, saw it behind him, surging up from the shadows. He saw the bearded man's face, the peering, pathetic, empty eyes of a little girl, the goggling grimacing stare of an old woman. It wasn't there, behind him, but it was alive in the reflection, and as he rose he gripped the wrench tightly. It wasn't there, but he'd strike at it, fight at it, come to grips with it somehow.

He turned, moving back, the ring of shadow-faces pressing. He swung the wrench. Then he saw
her
face coming up through all the rest. Her face, with shining splinters where the eyes should be. He couldn't smash it down, he couldn't hit her again.

It moved forward. He moved back. His arm went out to one side. He heard the tinkle of window glass behind him and vaguely remembered that this was how the old woman had died. The way he was dying now—falling through the window, and cutting his throat, and the pain lanced up and in, tearing at his brain as he hung there on the jagged spikes of glass, bleeding his life away.

Then he was gone.

His body hung there, but he was gone.

There was a little puddle on the floor, moving and growing. The light from outside shone on it, and there was a reflection.

Something emerged fully from the shadows now, emerged and capered demurely in the darkness.

It had the face of an old woman and the face of a child, the face of a bearded man, and
his
face, and
her
face, changing and blending.

It capered and postured, and then it squatted, dabbling. Finally, all alone in the empty house, it just sat there and waited. There was nothing to do now but wait for the next to come. And meanwhile, it could always admire itself in that growing, growing red reflection on the floor . . .

D
URING THE WHOLE
of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, by automobile, through a singularly dreary tract of country, and at length found myself, as the shades of the evening drew on, within view of my destination.

I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with a feeling of utter confusion commingled with dismay. For it seemed to me as though I had visited this scene once before, or read of it, perhaps, in some frequently re-scanned tale. And yet assuredly it could not be, for only three days had passed since I had made the acquaintance of Launcelot Canning and received an invitation to visit him at his Maryland residence.