Calling All Monsters

As I walked a back alley of Ghost Town, Knott’s Berry Farm during Halloween Haunt, an ominous purple fog hung in the air, and with each step it swirled like a brew in a witch’s cauldron. Eerie green lamplights flickered devilishly, casting a sick pallor on my skin. From the corner of my eye, I saw something lurking, something in tattered clothes with a hideous half-missing face, like the victim of a flesh-eating bacteria.

Then it spotted me. Though handicapped by a dragging, lifeless foot, it moved fast, and quickly gained ground. In one huge lunge it split the curtain of fog, the only thing separating me from this abomination. I froze.

It dragged itself even closer and grabbed my arm. Then it spoke. “Pam, my mask is coming unglued.”

“Again?” I said, and reached into my Monster Repair Kit. With spirit gum I reattached the latex prosthetic and sent the foot-dragger back into the fog. When I heard a blood-curdling female scream, I knew my monster was hard at work.

As head of wardrobe for Halloween Haunt, monster repair was just part of my job; I was also in charge of the daily cleaning of 500 costumes. At 2 am, when the talent returned after an 8-hour shift, their clothes were wringing wet and reeking with sweat and bad cologne.

While prepping the first load of laundry, I reached into a monster’s pocket looking for the usual forgotten Chap Stick or Tic-Tacs, and pulled out something I’d never before found—a small folded piece of paper.

I opened it, and read, “Hi, I’m Julie. Call me,” followed by a phone number. I burst out laughing, not because I find young love amusing, but because this particular monster wore a putrid pea-green mask with skin the texture of large-curd cottage cheese. One of its eyes had escaped its socket and oozed down the cheek, where it collided with a torn and bloody lip. This girl clearly had no idea what the person beneath the mask looked like. And because he also wore a pair of fake fangs, I doubted the two had had much of a chance to talk. The monster could only show his interest with his eyes, or in this case—eye.

This had to be an anomaly, I thought, until I moved on to the extremely stinky costume of a monster that sported a gray rotting-corpse mask, complete with pupating fly larvae. I found a phone number in his pocket too. Sandi, a resourceful girl who’d dotted her “i” with a heart, had given her cell and work numbers.

Now, I’ve heard that love is blind, but apparently, it also has no sense of smell.

After cleaning the costumes I debated whether to toss the numbers, but in the end—love triumphed. Yet, even though Julie was attracted to the putrid cottage cheese face and Sandi was more your rotting-corpse type, because it was Halloween, I confess, I played a trick and reversed the mash notes. I doubt the girls ever noticed.

It’s Alive

Every Halloween, after I’ve handed out the last of the candy—okay, I save a few Kit-Kats for myself—I turn out the lights, curl up on my sofa and watch Young Frankenstein starring the sorely-missed Gene Wilder. The script, co-written by Gene Wilder and Mel Brooks, is brilliant. I’ve seen it so many times I can recite the dialogue. I even know when to whinny like a frightened horse when someone says, “Frau Blücher.” I love the scene where Dr. Frankenstein reanimates the creature, who has mistakenly been given the brain of someone named Abbey Normal. While a huge storm rages, the white-coated doctor, with his mad scientist eyes and his wind-ravaged hair, looks up to the dark, menacing sky and shouts, “It’s alive!”

Now you’re probably wondering what this has to do with writing, but stay with me. I really do have a point. Continue reading “It’s Alive”