On a tense and muggy darkening evening
You stand below leafy branches
And warily eye a massive windowless red building,
And wonder what evil goes on inside.
Plainclothes security thugs patrol weedy cracked streets
While block-shaped men in wrinkled overalls
Hover in the shadows.
When night falls a convoy of carnival rides
Clatters into town, Tilt-A-Whirl,
Scrambler, Octopus and Paratrooper,
Alive in neon lights, under their own volition,
Spinning headlong toward the red fortress.
Everyone scatters and you run for cover
Beneath a candy-colored vehicle
Like a big toy firetruck. Then
You’re driving it down a ruined avenue,
Chasing a little man with a buzz cut and baggy shorts,
Gleefully trying to run him down, until
He disappears and you find yourself alone,
Trapped in the crumbling basement of the red cellblock,
Waiting for something very bad to happen.
Well, that isn’t very much fun, is it? Nosiree, you’re plenty glad that business comes to a sudden halt. But what’s next?
While carving the meat
You lose your seat
At the table.
You lose your office in the movie house,
So there’s no place for a tryst with the starlet.
At a friend’s vacation rental you awake to a house full of strangers, a family reunion and a troupe of actors on tour. “We always do this, every year,†says the handsome inamorato. Prima donnas are arguing in vicious tones over the use of a downstairs bathroom. “Ficking ectrisses,†one venerable matron spits at another, while the men of the company rehearse a murder scene in the courtyard. The victim is a dark hollow-eyed boy whose eyebrows rise with every breath. The killer, Fred Gwynne—Car 54, Herman Munster—solemnly enrobes himself in a cloak that creates the effect of a headless giant. He holds a dagger with a handle carved in the shape of a circus clown, and drives it into the wall beside the boy, as a sign.
And if you happened to be on the scene, you’d know how that played out, wouldn’t you? The rest of us went down to the beach, because it had finally stopped raining.

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