I wanted to be photographer. I wanted to go somewhere, get out of this miserable town but the course didn’t work out; sure, my grades were reasonable, but I wasn’t anything special so they kicked me out in the summer of ‘93. I go back home feeling like a failure, and a year later I’m processing family photos in the kiosk down the back of the local Kmart for peanuts.
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She was tiny: ‘bout 12, scrunch socks over leggings and a floppy hat with the front pushed up. Brings in her little disposable camera, wants the photos developed. No problem, I tell her, should get them done by the end of the day. Off she goes with a big smile back to her Mum, the happy bounce in her step making me hate my life even more.
Two hours later I’m drying the prints and I spot something odd. Amongst all the laughing, loathsome tweenies in long floral skirts, next to all the shots filled with underexposed, blurry ice cream cake at the local Pizza Hut the night before, there was grass, daylight, something grey in the foreground. Grabbing the print out and waving it around to dry off, I take a closer look and what I see nearly makes me scream. I call Jeanie over and she does scream.
“Sure you didn’t get it mixed up?” Jeanie asks, but we check everything and there is no way I’d made a mistake. “Dude, this has got to be some kind of sick joke,” Jeanie mutters, not taking her eyes from the print. “You think we should call the police?”
“Dunno. I mean, shouldn’t we call the kid’s mum first?” I reply, “I mean, there could be an explanation for it . . . ?”
“Like what?” Jeanie snorts, and I can’t find one so we ring the girl’s mum up and in an hour she’s at the booth, looking all worried when I tell her something’s up.
“I hope you haven’t ruined them. Sam is ever so looking forward to showing her friends!” she snaps.
“No, Mrs. Jefferies, the prints are fine, there’s just an . . . anomaly,” I say but she still screams when I show her. She doesn’t get any better when I show her the negatives either and we have to get security to carry her out. She doesn’t come back, we close up for the day and Jeanie and I have a few beers afterwards to try to get the image out of our heads.
What we don’t realise is – we can’t.
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That night, I go to sleep with the TV on static, droning out anything in my brain. When I’m fast asleep, I dream and I’m there . . .
The sky is overcast and cold, and the long grass a dull grey-green. Something smells. I see a grey shape in the hillside and I walk towards it. The smell gets worse and I can hear the buzzing of flies. I want to run, but I’m being pushed forwards until I'm face to face with the corpse in the grass. I can’t move, I can’t breath; it sits up and a rotting hand whips out and grabs my wrist. I scream until I wake up, panting and clammy.
When I’m putting my eyeliner on in the morning I see the bruise, a slash of blue across the back of my wrist.
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I get to work and Jeanie looks terrible. She’s got a bruise on her forearm, just below her elbow, but she tells me to shut up when I ask if she had a bad dream. “No, dude, I know you did,” I say, “’cause I had it too.”
“’bout the photo?”
“Yeah.” I show her my wrist.
The Jeffries never come back and Jeanie locks it away. But the dreams keep happening, getting worse. Jeanie turns up to work with a black eye and I’ve got back pain from when the thing grabbed my ankle and dragged me to the ground. I’m drinking so much Jolt I’m permanently shaking but I can’t stay awake forever.
Then Jeanie and I hear Mr. Jeffries has been arrested, his wife dead after being beaten and strangled, but he’s denying it. Said he called 000 but she died, screaming, in bed and asleep. But we know what caused it. She was the only other person to see that photo.
“Oh, man . . . “ Jeanie mutters, “we gotta do something . . .” We unlock the drawer, exhume its deadly contents and burn it in the staff toilets, flushing the ashes away and hoping the fire alarm doesn’t ring . . .
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That night, I sleep a dark, peaceful sleep. The next day, Jeanie looks good too, the bruises are gone. Weeks pass and we try not to think about it, at least not until we’re developing the holiday snaps for some kid: in the middle of sunny beaches, the same, overcast field, this time, in bloody scrawl across the scene: YOU CAN'T STOP ME . . .