It was colder in the alley than it had been out on Pierce, the sun having already dropped low enough in the west that the alley must have been in shadow for some time. Perhaps it is always in shadow and never truly warm there. I found the side door exactly as I’d hoped to find it, and three or four minutes of jiggling about with the wobbly brass knob was enough to coax it open. Inside, the warehouse was dark and even colder than the alley, and the air stank of mould and dust, bad memories and vacancy. I stood in the doorway a moment or two, thinking of hungry rats and drunken bums, delirious crack addicts wielding lead pipes, the webs of poisonous spiders. Then I took a deep breath and stepped across the threshold, out of the shadows and into a more decided blackness, a more definitive chill, and all those mundane threats dissolved. Everything slipped from my mind except Jacova Angevine, and her followers (if that’s what you’d call them) dressed all in white, and the thing I’d seen on the altar the one time I’d come here when this had been a temple of the Open Door of Night.
I asked her about that thing once, a few weeks before the end, the last night that we spent together. I asked where it had come from, who had made it, and she lay very still for a while, listening to the surf or only trying to decide which answer would satisfy me. In the moonlight through the hotel window, I thought she might have been smiling, but I wasn’t sure.
“It’s very old,” she said, eventually. By then I’d almost drifted off to sleep and had to shake myself awake again. “No one alive remembers who made it,” Jacova continued. “But I don’t think that matters, only that it was made.”
“It’s fucking hideous,” I mumbled sleepily. “You know that, don’t you?”
“Yeah, but so is the Crucifixion. So are bleeding statues of the Virgin Mary and images of Kali. So are the animal-headed gods of the Egyptians.”
“Yeah, well, I don’t bow down to any of them, either,” I replied, or something to that effect.
“The divine is always abominable,” she whispered and rolled over, turning her back to me.
Just a moment ago I was in the warehouse on Pierce Street, wasn’t I? And now I’m in bed with the Prophet from Salinas. But I will not despair, for there is no need here to stay focused, to adhere to some restrictive illusion of the linear narrative. It’s coming. It’s been coming all along. As Job Foster said in Chapter Four of The Last Loan Shark of Bodega Bay, “It’s just the way I tell stories, right. You know that. I start at the beginning. I don’t leave stuff out.”
That’s horseshit, of course. I suspect luckless Job Foster knew it was horseshit, and I suspect that I know it’s horseshit, too. It is not the task of the writer to “tell all,” or even to decide what to leave in, but to decide what to leave out. Whatever remains, that meager sum of this profane division, that’s the bastard chimera we call a “story.” I am not building, but cutting away. And all stories, whether advertised as truth or admitted falsehoods, are fictions, cleft from any objective facts by the aforementioned action of cutting away. A pound of flesh. A pile of sawdust. Discarded chips of Carrara marble. And what’s left over.
A damned man in an empty warehouse.
I left the door standing open, because I hadn’t the nerve to shut myself up in that place. And I’d already taken a few steps inside, my shoes crunching loudly on shards of glass from a broken window, grinding glass to dust, when I remembered the Maglite hidden inside my jacket. But the glare of the flashlight did nothing much to make the darkness any less stifling, nothing much at all but remind me of the blinding white beam of Tiburon II’s big HMI rig, shining out across the silt at the bottom of the canyon. Now, I thought, at least I can see anything, if there’s anything to see, and immediately some other, less familiar thought-voice demanded to know why the hell I’d want to. The door had opened into a narrow corridor, mint-green concrete walls and a low concrete ceiling, and I followed it a short distance to its end – no more than thirty feet, thirty feet at the most – past empty rooms that might once have been offices, to an unlocked steel door marked in faded orange letters, EMPLOYEES ONLY.
“It’s an empty warehouse,” I whispered, breathing the words aloud. “That’s all, an empty warehouse.” I knew it wasn’t the truth, not anymore, not by a long sight, but I thought that maybe a lie could be more comforting than the comfortless illumination of the Maglite in my hand. Joseph Campbell wrote, “Draw a circle around a stone and the stone will become an incarnation of mystery.” Something like that. Or it was someone else said it and I’m misremembering. The point is, I knew that Jacova had drawn a circle around that place, just as she’d drawn a circle about herself, just as her father had somehow drawn a circle about her—
Just as she’d drawn a circle around me.
The door wasn’t locked, and beyond it lay the vast, deserted belly of the building, a flat plain of cement marked off with steel support beams. There was a little sunlight coming in through the many small windows along the east and west walls, though not as much as I’d expected, and it seemed weakened, diluted by the musty air. I played the Maglite back and forth across the floor at my feet and saw that someone had painted over all the elaborate, colorful designs put there by the Open Door of Night. A thick grey latex wash to cover the intricate interweave of lines, the lines that she believed would form a bridge, a conduit – that was the word that she’d used. Everyone’s seen photographs of that floor, although I’ve yet to see any that do it justice. A yantra. A labyrinth. A writhing, tangled mass of sea creatures straining for a distant black sun. Hindi and Mayan and Chinook symbols. The precise contour lines of a topographic map of Monterey Canyon. Each of these things and all of these things, simultaneously. I’ve heard that there’s an anthropologist at Berkeley who’s writing a book about that floor. Perhaps she will publish photographs that manage to communicate its awful magnificence. Perhaps it would be better if she doesn’t.
Perhaps someone should put a bullet through her head.
People said the same thing about Jacova Angevine. But assassination is almost always unthinkable to moral, thinking men until after a holocaust has come and gone.
I left that door open, as well, and walked slowly towards the center of the empty warehouse, towards the place where the altar had been, the spot where that divine abomination of Jacova’s had rested on folds of velvet the colour of a massacre. I held the Maglite gripped so tightly that the fingers of my right hand had begun to go numb.
Behind me, there was a scuffling, gritty sort of noise that might have been footsteps, and I spun about, tangling my feet and almost falling on my ass, almost dropping the flashlight. The child was standing maybe ten or fifteen feet away from me, and I could see that the door leading back to the alley had been closed. She couldn’t have been more than nine or ten years old, dressed in ragged jeans and a T-shirt smeared with mud, or what looked like mud in the half light of the warehouse. Her short hair might have been blonde, or light brown, it was hard to tell. Most of her face was lost in the shadows.
“You’re too late,” she said.
“Jesus Christ, kid, you almost scared the holy shit out of me.”
“You’re too late,” she said again.
“Too late for what? Did you follow me in here?”
“The gates are shut now. They won’t open again, for you or anyone else.”
I looked past her at the door I’d left open, and she looked back that way, too.
“Did you close that door?” I asked her. “Did it ever occur to you that I might have left it open for a reason?”
“I waited as long I dared,” she replied, as though that answered my question, and turned to face me again.
I took one step towards her, then, or maybe two, and stopped. And at that moment, I experienced the sensation or sensations that mystery and horror writers, from Poe on down to Theo Angevine, have labored to convey – the almost painful prickling as the hairs on the back of my neck and along my arms and legs stood erect, the cold knot in the pit of my stomach, the goose across my grave, a loosening
in my bowels and bladder, the tightening of my scrotum. My blood ran cold. Drag out all the fucking clichés and there’s still nothing that comes within a mile of what I felt standing there, looking down at that girl, her looking up at me, the feeble light from the windows glinting off her eyes.
Looking into her face, I felt dread as I’d never felt it before. Not in war zones with air-raid sirens blaring, not during interviews conducted with the muzzle of a pistol pressed to my temple or the small of my back. Not waiting for the results of a biopsy after the discovery of a peculiar mole. Not even the day she led them into the sea and I sat watching it all on fucking CNN from a bar in Brooklyn.
And suddenly I knew that the girl hadn’t followed me in from the alley, or closed the door, that she’d been here all along. I also knew that a hundred coats of paint wouldn’t be enough to undo Jacova’s labyrinth.
“You shouldn’t be here,” the girl said, her minotaur’s voice lost and faraway and regretful.
“Then where should I be?” I asked, and my breath fogged in air gone as frigid as the dead of winter, or the bottom of the sea.
“All the answers were here,” she replied. “Everything that you’re asking yourself, the things that keep you awake, that are driving you insane. All the questions you’re putting into that computer of yours. I offered all of it to you.”
And now there was a sound like water breaking against stone, and something heavy and soft and wet, dragging itself across the concrete floor, and I thought of the thing from the altar, Jacova’s Mother Hydra, that corrupt and bloated Madonna of the abyss, its tentacles and anemone tendrils and black, bulging squid eyes, the tubeworm proboscis snaking from one of the holes where its face should have been.
Mighty, undying daughter of Typhaôn and serpentine Ecidna – Yδρα Λερvαια, Urda Lernaia, gluttonous whore of all the lightless worlds, bitch bride and concubine of Father Dagon, Father Kraken —
I smelled rot and mud, saltwater and dying fish.
“You have to go now,” the child said urgently, and she held out a hand as though she meant to show me the way. Even in the gloom, I could see the barnacles and sea lice nestled in the raw flesh of her palm. “You are a splinter in my soul, always. And she would drag you down to finish my own darkness.”
And then the girl was gone. She did not vanish, she was simply not there anymore. And those other sounds and odors had gone with her. There was nothing left behind but the silence and stink of any abandoned building, and the wind brushing against the windows and around the corners of the warehouse, and the traffic along roads in the world waiting somewhere beyond those walls.
VI
I know exactly how all this shit sounds. Don’t think that I don’t. It’s just that I’ve finally ceased to care.
VII
Yesterday, two days after my trip to the warehouse, I watched the MBARI tape again. This time, when it reached the twelve-second gap, when I’d counted down to eleven, I continued on to twelve, and I didn’t switch the television off, and I didn’t look away. Surely, I’ve come too far to allow myself that luxury. I’ve seen so goddamn much – I’ve seen so much that there’s no reasonable excuse for looking away, because there can’t be anything left that’s more terrible than what has come before.
And, besides, it was nothing that I hadn’t seen already.
Orpheus’ mistake wasn’t that he turned and looked back towards Eurydice and Hell, but that he ever thought he could escape. Same with Lot’s wife. Averting our eyes does not change the fact that we are marked.
After the static, the picture comes back and at first it’s just those boulders, same as before, those boulders that ought to be covered with silt and living things – the remains of living things, at least – but aren’t. Those strange, clean boulders. And the lines and angles carved deeply into them that cannot be the result of any natural geological or biological process, the lines and angles that can be nothing but what Jacova said they were. I think of fragments of the Parthenon, or some other shattered Greek or Roman temple, the chiseled ornament of an entablature or pediment. I’m seeing something that was done, something that was consciously fashioned, not something that simply happened. The Tiburon II moves forward very slowly, because the blow before the gap has taken out a couple of the port thrusters. It creeps forward tentatively, floating a few feet above the seafloor, and now the ROV’s lights have begun to dim and flicker.
After the gap, I know that there’s only 52.2 seconds of video remaining before the starboard camera shuts down for good. Less than a minute, and I sit there on the floor of my hotel room, counting – one-one thousand, two-two thousand – and I don’t take my eyes off the screen.
The MBARI robotics tech is dead, the nervous man who sold me – and whoever else was buying – his black-market dub of the videotape. The story made the Channel 46 evening news last night and was second page in the Monterey Herald this morning. The coroner’s office is calling it a suicide. I don’t know what else they would call it. He was found hanging from the lowest limb of a sycamore tree, not far from the Moss Landing docks, both his wrists slashed nearly to the bone. He was wearing a necklace of Loligo squid strung on baling wire. A family member has told the press that he had a history of depression.
Twenty-three seconds to go.
Almost two miles down, Tiburon II is listing badly to starboard, and then the ROV bumps against one of the boulders and the lights stop flickering and seem to grow a little brighter. The vehicle appears to pause, as though considering its next move. The day he sold me the tape, the MBARI tech said that a part of the toolsled had wedged itself into the rubble. He told me it took the crew of the R/V Western Flyer more than two hours to maneuver the sub free. Two hours of total darkness at the bottom of the canyon, after the lights and the cameras died.
Eighteen seconds.
Sixteen.
This time it’ll be different, I think, like a child trying to wish away a beating. This time, I’ll see the trick of it, the secret interplay of light and shadow, the hows and whys of a simple optical illusion—
Twelve.
Ten.
And the first time, I thought that I was only seeing something carved into the stone or part of a broken sculpture. The gentle curve of a hip, the tapering line of a leg, the twin swellings of small breasts. A nipple the colour of granite.
Eight.
But there’s her face – and there’s no denying that it’s her face – Jacova Angevine, her face at the bottom the sea, turned up towards the surface, towards the sky and Heaven beyond the weight of all that black, black water.
Four.
I bite my lip so hard that I taste blood. It doesn’t taste so different from the ocean.
Two.
She opens her eyes, and they are not her eyes, but the eyes of some marine creature adapted to that perpetual night. The soulless eyes of an anglerfish or gulper eel, eyes like matching pools of ink, and something darts from her parted lips—
And then there’s only static, and I sit staring into the salt-and-pepper roar.
All the answers were here. Everything that you’re asking yourself . . . I offered all of it to you.
Later – an hour or only five minutes – I pressed EJECT and the cassette slid obediently from the VCR. I read the label, aloud, in case I’d read it wrong every single time before, in case the timestamp on the video might have been mistaken. But it was the same as always, the day before Jacova waited on the beach at Moss Landing for the supplicants of the Open Door of Night. The day before she led them into the sea. The day before she drowned.
VIII
I close my eyes.
And she’s here again, as though she never left.
She whispers something dirty in my ear, and her breath smells like sage and toothpaste.
The protestors are demanding that the Monterey Bay Aquarium Research Institute (MBARI) end its ongoing exploration of the submarine canyon immediately. The twenty-five mile long canyon, they claim, is a sacred site th
at is being desecrated by scientists. Jacova Angevine, former Berkeley professor and leader of the controversial Open Door of Night cult, compares the launching of the new submersible Tiburon II to the ransacking of the Egyptian pyramids by grave robbers. (San Francisco Chronicle)
I tell her that I have to go to New York, that I have to take this assignment, and she replies that maybe it’s for the best. I don’t ask her what she means; I can’t imagine that it’s important.
And she kisses me.
Later, when we’re done and I’m too exhausted to sleep, I lie awake, listening to the sea and the small, anxious sounds she makes in her dreams.
The bodies of fifty-three men and women, all of whom may have been part of a religious group known as the Open Door of Night, have been recovered following Wednesday’s drownings near Moss Landing, CA. Deputies have described the deaths as a mass suicide. The victims were all reported to be between twenty-two and thirty-six years old. Authorities fear that at least two dozen more may have died in the bizarre episode and recovery efforts continue along the coast of Monterey County. (CNN.com)
I close my eyes, and I’m in the old warehouse on Pierce Street again; Jacova’s voice thunders from the PA speakers mounted high on the walls around the cavernous room. I’m standing in the shadows all the way at the back, apart from the true believers, apart from the other reporters and photographers and camera men who have been invited here. Jacova leans into the microphone, angry and ecstatic and beautiful – terrible, I think – and that hideous carving is squatting there on its altar beside her. There are candles and smoldering incense and bouquets of dried seaweed, conch shells and dead fish, carefully arranged about the base of the statue.
“We can’t remember where it began,” she says, “where we began,” and they all seem to lean into her words like small boats pushing against a violent wind. “We can’t remember, of course we can’t remember, and they don’t want us to even try. They’re afraid, and in their fear they cling desperately to the darkness of their ignorance. They would have us do the same, and then we would never recall the garden nor the gate, would never look upon the faces of the great fathers and mothers who have returned to the deep.”
The Mammoth Book of Best New Horror 18 Page 41
