Where All Is Emptiness There Is Room to Move, Ray Bradbury

Where All Is Emptiness There Is Room to Move

The Jeep came down an empty road into an empty town beside a shoreline that was empty and a vast bay dotted with half-sunken ships stretched as far as one could see.

Along the shore was a dockyard in which stood silent buildings with broken windows and huge prehistoric-looking lifters and movers, frozen somewhere back in time.

For now the iron limbs and pincers and chains shook in the wind and dropped rust on the empty dock timbers where no rats ran and no cats pursued.

There was an emptiness to the entire scene that caused the young driver to slow his Jeep and gaze about at the motionless machinery and the shoreline on which not one wave arrived nor another followed.

The sky was empty, too, for with no surf or creatures within the surf to be seized, the gulls had long since sailed north of this silence, the tombstone buildings, and the dead ironworks.

The very silence of the place braked the Jeep still more so that it seemed underwater, drifting across a plaza where a population had left at dawn without disturbing the air or promising return.

“My God,” the young man in the Jeep whispered. “It’s really dead.”

The Jeep stopped at last in front of a building on which a sign read GOMEZ/BAR. Some flags, with the colors of Mexico, rippled softly, the only motion.

The young driver got out of the Jeep slowly and was moving toward the bar when a tall man of some few years stepped forth, his hair a great white bush over his black scowl, the huge bulk of his body clad in the all-white of a bartender, a clean white towel draped over his left arm, a wineglass in the other hand.

He stood scowling at the Jeep as if it were an affront and then lifted his scowl to the young man and slowly held out the glass.

“No one ever comes here,” he said, in a deep guttural tone.
“So it seems,” said the young man uneasily.
“No one has come here in sixty years.”

“I can see that.” The young man directed his gaze to the shoreline, the docks, the sea, and the air with no gulls.

“You did not expect to find anyone.” It was a statement, not a question.
“No one,” said the younger man. “But here you are.”
“Why not? Since 1932 the town is my town, the harbor my harbor. This plaza mine. This, this is my place. Why? Out there in the harbor, it happened, years ago.”

“The sandbar?”
“It came. It settled. Some ships did not escape. You see? They are rusting.”
“Couldn’t they clear the sandbar away?”
“They tried. This was Mexico’s biggest port, with great dreams. They had an opera house. See the shops, the gilt and the tile. They all departed.”

“So sand has more value than gold,” said the young man.
“Yes. A little sand makes a great mountain.”
“Does no one live here?”
“This one.” The big man shrugged. “Gomez.”
“Señor Gomez.” The young man nodded.
“James Clayton.”
“James Clayton.”

He motioned with the wineglass.
James Clayton turned silently to scan the plaza, the town, the flat sea.

“This then is Santo Domingo?”
“Call it what you will.”

“El Silencio says more. Abandonado, the world’s largest tomb. A place of ghosts.”
“All of those.”

“The Lonely Place. I have rarely known such loneliness. At the edge of town tears filled my eyes. I remembered an American graveyard in France years ago. I doubt ghosts, but I felt crushed. The air above the tombs took my breath. My heart almost stopped. I got out. This,” he nodded, “is the same. Except, none are buried here.”

“Only the Past,” said Gomez.
“And the Past can’t hurt you.”
“It is always trying. Well.”
Gomez looked as if he might empty the wineglass. James Clayton took the glass and said, “Tequila?”

“What else would a man offer?”
“No man that I know. Gracias.”
“Let it shoot you. Put your head back—now!”

The young man did this, blushed and gasped. “I’m shot!”
“Let us kill you again.”
Gomez backed into the bar. James Clayton stepped out of the sun.

Inside was a long bar, not the longest bar in the world like that one in Tijuana where ninety men could share murders, bark laughs, order fusillades, and die but to wake, eyeing their strange selves in the flyspecked mirrors.

No, it was merely a bar of some seventy feet, well polished, and laid out with long stacks of newspapers from other years. Above these, glass chimes of crystal hung upside down, and against the mirrors stood squadrons of liquor, of all colors, waiting like soldiers, while beyond, filling the room, stood two dozen white-clothed tables on which lay bright cutlery and a few candles, lit though it was noon.

Behind the bar now, Gomez set out another assassin’s tequila, a slow or abrupt suicide, if the young man wished. The young man wished, staring at the empty tables and chairs, the shining silverware, the lit candles.

“You were expecting someone?”
“I do expect,” said Gomez. “Someday they will come. God says. He has never lied.”
“When was your last meal served? Excuse me,” said James Clayton.

“The menu will say.”
Sipping his tequila, Clayton picked up a menu and read:
“Cinco de Mayo, my God, May 1932! That was the last dinner?”

“Just so,” said Gomez. “After the funeral for this dead town, the last woman left. The women had waited for the last man to leave. With the men gone there was no profit in staying. The hotel rooms across the way are full of butterfly wings, dresses for late dinners or the opera.

Do you see that place across the plaza with golden gods and goddesses on top? Gilt, of course, or they would have been taken. In that opera the night before departure, Carmen sang, rolling cigars on her knee. When the music died, the town followed.”
“No one left by sea?”

“Ah, no. The sandbar. There is a rail track behind the opera house. The last train left there in the night, with the singers singing on the porch of the observation car. I ran down the track after them, throwing confetti.

I ran long after the porchful of half-fat beautiful ladies were lost in the jungle, then I sat on the rail and listened to the train vibrating the iron, my ear pressed down, tears running off my nose, estupido, but I stayed on. Late nights I still go to place my ear on the rail, shut my eyes, and listen, but the track is dumb. Just as stupid as ever, I come back to sit and drink and say to myself, mañana: yes. The arrival! And now, you.”

“A poor arrival.”

“You will do for now.” Gomez leaned to touch one old, yellowed newspaper. “Señor, can you really know the year?”
Clayton smiled at the newspaper. “1932!”

“1932! A better year. How can we know that other years exist? Do planes fill the sky? Do the roads fill with tourists? Do warships stand in the harbor? I see none. Does Hitler live? His name is not yet here. Is Mussolini evil? Here he seems good. Does the Depression stay? Look! It will die by Christmas! Mr. Hoover says! So each day I unfold another paper and reread 1932. Who says otherwise?”

“Not I, Señor Gomez.”
“Let us drink to that.”

They drank the tequila and Clayton wiped his mouth.
“Don’t you want me to tell you what’s happening out beyond today?”

“No, no. My newspapers stand ready. One a day. In ten years I will arrive in 1942. In sixteen years I will reach 1948, by then it cannot wound me. Friends bring these papers twice a year, I simply stack them on the bar, pour more tequila and read your Mr. Hoover.”

“Is he still alive?” Clayton smiled.
“Today he did something about foreign imports.”
“Shall I tell you what happened to him?”
“I will not listen!”
“I was joking.”

“Let us drink to that.”
They quietly drank their drinks.
“I suppose you wonder why I came?” said Clayton at last.
Gomez shrugged. “I slept well last night.”

“I like lonely places. They tell you more about life than cities. You can lift things and look under and no one watching so you feel self-conscious.”
“We have a saying,” said Gomez. “Where all is emptiness, there is room to move. Let us move.”

And before Clayton could speak, Gomez strode quietly with his long thick legs and his great body out to the Jeep, where he stared down at the great litter of bags and their labels.
His lips spelled out the words:

“Life.” He glanced at Clayton. “Even I have heard of that. In town I do not look left or right or listen to those radios in shops or the bar I know before my trip back with supplies. But I have seen that name on the big magazine. Life?”

Clayton nodded sheepishly.
Gomez scowled as he stared hard down at many black shiny metal objects.

“Cameras?”
Clayton nodded.
“Just lying there, open. You did not drive with them so, surely?”
“I opened them outside town,” said Clayton. “To take pictures.”

“Of what?” said Gomez. “Why would a young man leave all things to come where there is nothing, nada, to take pictures of a graveyard? You’re here to see more than this place,” said Gomez.
“Why do you say that?”

“The way you slap at flies that are not there. You cannot stand quietly. You watch the sky. Señor, the sun will go down without your help. Do you have an appointment? You have a camera but have not used it. Are you waiting for something better than my tequila?”

“I …” said Clayton
And then it happened.
Gomez froze. He listened and turned his head toward the hills. “What’s that?”

Clayton said nothing.
“Do you hear? Something?” said