The Archived

by Victoria Schwab

  I don’t know what to say. The two of us stand there in the Narrows, and all the falseness falls away.

  “Roland said there’d been an incident. Said he didn’t want you to be alone. I don’t know what happened. But I want you to know, you’re not alone.”

  My eyes burn, and I clench my jaw and look away.

  “Are you holding up?” he asks.

  The lie comes to my lips, automatic. I bite it back. “No.”

  Wes looks down. “You know, I used to think that when you died, you lost everything.” He starts down the hall, talking as he goes, so I’m forced to follow. “That’s what made me so sad about death, even more than the fact that you couldn’t live anymore; it was that you lost all the things you’d spent your life collecting, all the memories and knowledge. But when my aunt Joan taught me about Histories and the Archive, it changed everything.” He pauses at a corner. “The Archive means that the past is never gone. Never lost. Knowing that, it’s freeing. It gave me permission to always look forward. After all, we have our own Histories to write.”

  “God, that’s cliché.”

  “I should write greeting cards, I know.”

  “I’m not sure they have a section for History-based sentimentality.”

  “It’s too bad, really.”

  I smile, but I still don’t want to talk about Ben. “Your aunt Joan. She’s the one you inherited from?”

  “Great-aunt, technically. The dame with the blue hair…also known as Joan Petrarch. And a frightening woman she is.”

  “She’s still alive?”

  “Yeah.”

  “But she passed the job on to you. Does that mean she abdicated?”

  “Not exactly.” He fidgets, looks down. “The role can only be passed on if the present Keeper is no longer capable. Aunt Joan broke her hip a few years back. Don’t get me wrong, she’s still pretty damn fierce. Lightning fast with her cane, in fact. I’ve got the scars to prove it. But after the accident, she passed the job on to me.”

  “It must be wonderful to be able to talk to her about it. To ask for advice, for help. To hear the stories.”

  Wesley’s smile falls. “It…it doesn’t work like that.”

  I feel like an idiot. Of course she left the Archive. She would have been altered. Erased.

  “After she passed the job on, she forgot.” There’s a pain in his eyes, a kind I finally recognize. I might not have been able to share in Wes’s clownish smile, but I can share in his sense of loneliness. It’s bad enough to have people who never knew, but to have one and lose them… No wonder Da kept his title till he died.

  Wes looks lost, and I wish I knew how to bring him back, but I don’t. And then, I don’t have to. A History does it for me. A sound reaches us, and just like that, Wesley’s smile rekindles. There is a spark in his eyes, a hunger I sometimes see in Histories. I’ll bet he patrols the Narrows looking for a fight.

  The sound comes again. Gone are the days, apparently, when we actually had to hunt for Histories. There’s enough of them here that they find us.

  “Well, you’ve been wanting to hunt here for days,” I say. “Think you’re ready?”

  Wesley gives a bow. “After you.”

  “Great,” I say, cracking my knuckles. “Just keep your hands to yourself so I can focus on my work instead of that horrible rock music coming off you.”

  He raises a brow. “I sound like a rock band?”

  “Don’t look so flattered. You sound like a rock band being thrown out of a truck.”

  His smile widens. “Brilliant. And for what it’s worth, you sound like a thunderstorm. And besides, if my soul’s impeccable taste in music throws you off, then learn to tune me out.”

  I’m not about to admit that I can’t, that I don’t know how, so I just scoff. The sound of the History comes again, a fist-on-door kind of banging, and I pull the key from around my neck and try to calm the sudden jump in pulse as I wrap the leather cord around my wrist a few times.

  I hope it’s not Owen. The thought surprises me. I can’t believe I’d rather face another Hooper than return Owen right now. It can’t be Owen, though. He would never make this much noise…not unless he’s started to slip. Maybe I should have told Wesley about him, but he’s part of the investigation, which puts him under the blanket of things I’m not supposed to speak of. Still, if Wes finds Owen, or Owen finds Wes, how will I explain that I need this one History, that I’m protecting him from the Archive, that he’s a clue? (And that’s all he is, I tell myself as firmly as possible.)

  I can’t explain that.

  I have to hope Owen has the sense to stay as far away from us as possible.

  “Relax, Mac,” says Wes, reading the tightness in my face. “I’ll protect you.”

  I laugh for good measure. “Yeah, right. You and your spiked hair will save me from the big bad monsters.”

  Wes retrieves a short cylinder from his jacket. He flicks his wrist, and the cylinder multiplies, becoming a pole.

  I laugh. “I forgot about the stick! No wonder the six-year-old kicked you,” I say. “You look ready to break open a piñata.”

  “It’s a bˉo staff.”

  “It’s a stick. And put it away. Most of the Histories are already scared, Wes. You’re only going to make it worse.”

  “You talk about them like they’re people.”

  “You talk about them like they’re not. Put it away.”

  Wesley grumbles but collapses the stick and pockets it. “Your territory,” he says, “your rules.”

  The banging comes again, followed by a small “Hello? Hello?” We round a corner, and stop.

  A teenage girl is standing near the end of the hall. She has a halo of reddish hair and nails painted a chipping blue, and she’s banging on one of the doors as hard as she can.

  Wesley steps toward her, but I stop him with a look. I take a step toward the girl, and she spins. Her eyes are flecked with black.

  “Mel,” she says. “God, you scared me.” She’s nervous but not hostile.

  “This whole place is scary,” I say, trying to match her unease.

  “Where have you been?” she snaps.

  “Looking for a way out,” I say. “And I think I finally found one.”

  The girl’s face floods with relief. “About time,” she says. “Lead the way.”

  “See?” I say, resting against the Returns door once I’ve led the girl through. “No stick required.”

  Wesley smiles. “Impressive—”

  Someone screams.

  One of those horrible asylum sounds. Animal. And close.

  We backtrack, reach a T, and turn right, to find ourselves sharing the stretch of hall with a woman. She’s gaunt, her head tilted to the left. She’s a hair shorter than Wesley, her back is to us, and judging by the sound that just came out of her mouth, which was insane but undeniably adult, I’m willing to bet she’s Dina Blunt. 33.

  “My turn,” whispers Wesley.

  I slip back into the stem of the T, out of sight, and hear him hit the wall with a sharp clap. I can’t see the woman, but I imagine her whipping around to face Wes at the sound.

  “Why, Ian?” she whimpers. The voice grows closer. “Why did you make me do it?”

  I press myself against the wall and wait.

  Something moves in my section of hall, and I turn in time to see a shock of silver-blond hair move in the shadows. I shake my head, hoping Owen can see me, and if he can’t, hoping he knows better than to show himself right now.

  “I loved you.” The words are much, much closer now. “I loved you, and you still made me do it.”

  Wesley takes a step and slides into view, his eyes flicking to me before leveling on the woman, whose footsteps I can now hear, along with her voice.

  “Why didn’t you stop me?” she whines. “Why didn’t you help me?”

  “Let me help you now,” says Wesley, mimicking my even tone.

  “You made me. You made me, Ian,” she says as if she can’t h
ear him, can’t hear anything, as if she’s trapped in a nightmarish loop. “It’s all your fault.”

  Her voice is high and rising with each word, until the words draw into a cry, then a scream, and then she lunges into view, reaching for him. They both move past me, Wesley stepping back and her stepping forward, pace for pace.

  I slip into the hall behind her.

  “I can help you,” says Wes, but I can tell from the tension around his eyes that he’s not used to this level of disorientation. Not used to using words instead of force. “Calm down,” he says finally. “Just calm down.”

  “What’s wrong with her?” The question doesn’t come from Wesley or me, but from a boy behind Wes at the end of the hall, several years younger than either of us.

  Wes glances his way for a blink, long enough for Dina Blunt to lunge forward. As she grabs for his arm, I reach for hers. Her balance is off from panic and forward momentum, and I use her strength instead of mine to swing her back, get my hands against her face, and twist it sharply.

  The snap of her neck is audible, followed by the thud of her body collapsing to the Narrows floor.

  The boy makes a sound between a gasp and a cry. His eyes go wide as he turns and sprints away, skidding around the nearest corner. Wesley doesn’t chase him, doesn’t even move. He’s staring down at Dina Blunt’s motionless form. And then up at me.

  I can’t decide whether the look is solely dumbfounded or admiring as well.

  “What happened to the humanitarian approach?”

  I shrug. “Sometimes it’s not enough.”

  “You are crazy,” he says. “You are a crazy, amazing girl. And you scare the hell out of me.”

  I smile.

  “How did you do that?” asks Wes.

  “New trick.”

  “Where did you learn it?”

  “By accident.” It’s not a total lie. I never meant for Owen to show me.

  The History’s body shudders on the floor. “It won’t last long,” I say, taking her arms. Wes takes her legs.

  “So this is what the adults are like?” he asks as we carry her to the nearest Returns door. Her eyelids flutter. We walk faster.

  “Oh, no,” I say when we reach the door. “They get much worse.” I turn the key and flood the hall with light.

  Wes smiles grimly. “Wonderful.”

  Dina Blunt begins to whimper as we push her through.

  “So,” Wesley says as I tug the door shut and the woman’s voice dies on the air, “who’s next?”

  Two hours later, the list is miraculously clear, and I’ve managed to go, well, one hour and fifty-nine minutes without thinking about Ben’s shelf vanishing into the stacks. One hour and fifty-nine minutes without thinking about the rogue Librarian. Or about the string of deaths. The hunting quiets everything, but the moment we stop, the noise comes back.

  “All done?” asks Wes, resting against the wall.

  I look over the blank slip of paper and fold the list before another name can add itself. “Seems so. Still wish you had my territory?”

  He smiles. “Maybe not by myself, but if you came with it? Yeah.”

  I kick his shoe with mine, and apparently two boots make enough of a buffer that almost none of Wesley’s noise gets through. A little flare of feedback—but it’s growing on me, as far as sound goes.

  We trace our way back through the halls.

  “I could seriously go for some Bishop’s baked goods right now,” he adds. “Think Mrs. Bishop might have something?”

  We reach the numbered doors, and I slide the key into I—the one that leads to the third-floor hall—even though it’s lazy and potentially public, because I really, really, really need a shower. I turn the key.

  “Will oatmeal raisin do?” I ask, opening the door.

  “Delightful,” he says, holding it open for me. “After you.”

  It happens so fast.

  The History comes out of nowhere.

  Blink-and-you-miss-it quick, the way moments play rewinding memory. But this isn’t memory, this is now, and there’s not enough time. The body is a blur, a flash of reddish-brown hair and a green sweatshirt and lanky teenage limbs, all of which I distinctly remember returning. But that doesn’t stop sixteen-year-old Jackson Lerner from slamming into Wesley, sending him back hard. I go to shut the door, but Jackson’s foot sails through the air and catches me in the chest. Pain explodes across my ribs, and I’m on the ground, gasping for air, as Jackson’s fingers catch the door just before it shuts.

  And then he’s gone.

  Through.

  Out.

  Into the Coronado.

  TWENTY-FIVE

  FOR ONE TERRIBLE, terrifying moment, I don’t know what to do.

  A History is out, and all I can think about is forcing air back into my lungs. And then the moment ends, and the next one starts, and Wes and I are somehow on our feet again, rushing through the Narrows door and onto the third floor of the Coronado. The hall is empty.

  Wes asks me if I’m okay, and I take a breath and nod, pain rippling through my ribs.

  My ring is still off, but I don’t need to read the walls to find Jackson, because his green sweatshirt is vanishing through the north stairwell door near my apartment. I sprint after him, and Wes turns and launches down the hall toward the south set of stairs beyond the elevators. Steps echo in the stairwell below, and I plunge down to the second floor as the door swings shut. I’m out in time to see Jackson skid to a stop halfway down the hall, Wesley rushing forward to block the landing to the grand stairs and the lobby and the way out.

  The History is trapped.

  “Jackson, stop,” I gasp.

  “You lied,” he growls. “There is no home.” His eyes are wide and going black with panic, and for a moment it’s as if I’m back in front of Ben, terrified, and my feet are glued to the ground as Jackson turns and kicks in the nearest apartment door, smashing the wood and charging through.

  Wes dashes forward, shocking me into motion, and I run as Jackson vanishes into the apartment.

  Beyond the broken door of 2C, the apartment is modern, spare, but very clearly occupied. Jackson is halfway to the window when Wes darts forward and over a low couch. He catches Jackson’s arm and spins him back toward the room. Jackson dodges his grasp and cuts to the side down a hall, but I catch up and slam him into the wall, upsetting a large framed poster.

  The shower in the bathroom at the end of the hall is going, and someone is singing off-key but loudly as Jackson shoves me away and rears back to kick. I spin as the rubber heel of his shoe lodges in the drywall, and grab his wrist while he’s off balance, pulling him toward me, my forearm slamming into his chest and sending him to the floor. When I try to pin him, he catches me with a glancing kick, and pain blossoms across my chest, forcing me to let go.

  Wesley is there as Jackson scrambles to his feet and into the living room. Wes swings his arm around Jackson’s throat and pulls hard, but Jackson fights like mad and forces him several steps back. A glass coffee table catches Wesley behind the knees, and he loses his balance. The two go down together. The shower cuts off as they crash in a wave of shattered glass. Jackson is up first, a shard jutting from his arm, and he’s out the door before I can stop him.

  Wesley is on his feet, his cheek and hand bleeding, but we tear into the second-floor hall. Jackson, in his panic, has stormed past the entrance to the landing and toward the elevator. We close in as he rips the glass from his arm with a hiss and forces the grille open. The dial above the cage door says the elevator is sitting on the sixth floor. The lobby is two stories tall. Which means two stories down.

  “It’s over,” calls Wesley, stepping toward him.

  Jackson stares at the elevator shaft, then back at us.

  And then he jumps.

  Wes and I groan together and turn, racing for the stairs.

  Histories don’t bleed. Histories can’t die. But they do feel pain. And that jump had to hurt. Hopefully it will at least slow him dow
n.

  A scream cuts through the air, but not from the elevator shaft. Someone in 2C lets out a strain of words between a cry and a curse as we hit the landing. Halfway down the main staircase we see Jackson clutching his ribs—serves him right—and making a limping but determined beeline for the front doors of the Coronado.

  “Key!” shouts Wes, and I dig the black handkerchief from my pocket.

  “Right for Returns,” I say as he grabs it, gets a foot up on the dark wood railing and jumps over, dropping the last ten feet and somehow landing upright. I hit the base of the stairs as Wes catches Jackson and slams him against the front doors hard enough to crack the glass. And then I’m there, helping hold the thrashing History against the door as Wes gets the Crew key into the lock and turns hard to the right. The scene beyond the glass is sunlight and streets and passing cars, but when Wes turns the key, the door flies open, ripped from his grip as if by wind, and reveals a world of white beyond. Impossible white, and Jackson Lerner falling through it.

  The door slams shut with the same windlike force, shattering the already cracked glass. The Crew key sits in the lock, and through the glassless frame, a bus rambles past. Two people across the street have turned to see what reduced the door to littered shards and wood.

  I stagger back. Wesley gives a dazed laugh just before his legs buckle.

  I crouch beside him even though the motion sends ripples of pain through my ribs.

  “Are you all right?” I ask.

  Wes stares up at the broken door. “We did it,” he says brightly. “Just like Crew.”

  Blood is running down his face from the gash along his cheekbone, and he’s gazing giddily at the place where the door to Returns formed. I reach out and slide the key from the lock. And then I hear it. Sirens. The people from across the street are coming over now, and the wail of a cop car is getting more and more distinct. We have to get out of here. I can’t possibly explain all this.