January 18, 2011
On God's orders, Simon and John picked off a New Haven househusband of a family with a dog, a cat, and two-point-five kids. John might have felt some guilt about it, if he hadn't been busy dodging semiautomatic fire the whole time while his brother snuck around back for the kill, if they hadn't found the blocks and blocks and blocks of what might have been heroin, or cocaine, or Bliss stashed in the garage. The irony wasn't lost on him. The irony was about fucking killing him, these days.
He dropped Simon off at the house, giving him the big upstairs bed. Then he went back to the roof of the opera house. Couldn't find the elevator. The wall was there. But it didn't sound hollow when he knocked on it, or metallic; there were no seams or buttons or bricks. Just bare plaster painted white. He tried and tried and couldn't shortcut back into the building. Not only could he not reach those gray featureless halls, he wasn't even being shunted into somewhere else in the opera house. It was as if God were simply refusing to hear him.
He had the next day off, his last day of scheduled "physical therapy." He'd walked out. She'd talked about going back to Vrashne, and he'd walked out, so it didn't surprise him to discover that she wasn't at the casino. He told himself that the ache in his chest, his feeling of his ribs squeezing too tightly on his lungs and his heart every time he breathed, was just because he'd put himself in such an impossible fucking position, and not because he missed her. He had nobody to blame but himself.
But there was someone he could talk to. If he was very careful about the questions, and thought very hard about the answers. He prayed, as he always did, for guidance and wisdom. He prayed that Harper was alive and well, somewhere. And then he stepped out of his house and into a certain featureless hallway in the basement of the Throne of Saturn, opened the door that stood directly ahead of him, and walked through.
Here were the things that were the same about sweet little Sarah's cell: the Plexiglas partition, the furniture inside the back half of the room, the papers and crayons and child-like drawings scattered everywhere. The little girl humming lullabies and nursery rhymes to herself while she worked on coloring a particular, larger piece of paper.
Here were the things that were different: the wards around the cell almost visibly fraying at the edges, pulsing occasionally in heartbeat time, the little girl's dress that was blood-red instead of innocent white, and the strawberry blonde shade of the little girl's swaying curls. And the stretch of acid green that ate through the red-and-black crayon maze on the paper, the silver lightning streaks that assaulted the blue at the core of the maze.
In the front half of the room, there was no sound. Just the little girl visible through the partition, coloring with an acid-green crayon over a line of black wax. It still took five or six strokes with the crayon before any color remained on the page, and that was a small bit of progress; it was still, undoubtedly, progress. After a moment, the little girl turned up her head from the page, and looked at John, and smiled with pearly-white baby teeth at him.
She had really very pretty jewel-green eyes, apart from the raw red scars around her lids.
"Morana," John whispered, his voice as constricted as his lungs, and flattened his hands against the glass separating him from utter destruction.
The little girl's smile brightened, and she gestured with little fingers at him, curl and release: 'come here'. The kind of gesture a child gives to an adult when they want to tell a secret, or some piece of important news, like the frog they just found in the stream.
This time he very carefully unclipped the S&W's holster from his belt and laid it on the padded flooring before straightening. If he had to take her on, a gun was not going to help him. Straightening, he studied her for a moment longer. He wondered whether his death would give her the fuel she needed to finish off the wards. He wondered if killing her body under God's grace was enough to banish her. He took a deep breath that made his lungs scream, and slid one Vans-clad foot into a glow of golden light that led him into the heart of an abyss.
Inside the wards was a hellstorm to the supernatural senses while Sarva's manipulations sent lances and dragging pressure against Morana's wards. Little Sarah wasn't humming now, but she was coloring again while she waited for John. She spoke without looking up again. "You came back. It's not the next day, but you came back. Did you bring me something?"
"Yes," he said, and fought his way through the near-physical urge to flee, walking over to the table, where he pulled one of the chairs out and sat. Fishing through the pockets of his jeans, he pulled out a packet of candy-coated chocolate and laid them on the table. The blue she'd drawn was the color he'd seen in Morana's eyes sometimes, wasn't it? The candies were all red.
There was nothing in Sarah's presence that suggested the gleam of bright silver streaking through that core of the maze. "Thank you." She was very mannerly, and put down the crayon to pick up the paper pack of candies. The action relieved some of the swirling magical pressure in the room. "Why did you come back? I didn't think you would."
"Because I said I'd try," he said, and reached for one of the blank pieces of paper with a questioning glance that was only a little watery.
Sarah's head nodded with a bob of curls, though she hadn't actually looked up to see him reach for the paper. She was frowning intently at the packet of candies, tearing it open to scatter them on the table. "They're all red! I like that. Red's my very favorite color, 'specially when it's people-red."
"They don't taste so much like people, though. You want out." That much was screamingly obvious. He would have figured it out by now even if Morana hadn't told him about the failing wards. "What are you gonna do when you get out?" He folded one corner of the paper up to make a triangle, flattened the crease, then creased and tore off the extra strip at the top.
"Oh." Disappointment for the information about the flavor of the candy. But she popped one in her mouth and crunched through the shell before she smiled. "Oh! These are good anyway. You can bring more of them, next time you come." Then she reached again for the green crayon she'd started with. "I don't know. It's almost time, but we were missing someone before she put me in here. I guess I'll try to find him. Then it'll be time!" Happily, while she put crayon to paper again.
He thought about that for a moment as she drew and he started folding up the now-square piece of paper, his callused hands working deftly over the sheet. "I can't help you get free if I know that you're going to hurt the people I care about." Behind his glasses, under the brim of the Yanks cap, his brown eyes were expressive as they studied her.
"That's okay. I think I'm going to get out anyway." She paused from more drawing, pressing on the paper, to pop another candy into her mouth. Then she stopped again to look at the folding piece in his hands. "What are you making?" Making. Creation. It was an endlessly fascinating subject.
"Just something to do with my hands," he said, "so that I don't cry like a little girl while I'm sitting here." He'd come in planning to cut a deal with her. That was right out the fucking window. The other things he wanted to talk about paled into absolute insignificance against her sparkling green eyes. "Distraction, you know?" He eyed her again.
"Oh." She almost sounded disappointed, and pushed a candy across the table at him. "Here. Doesn't chocolate make people feel better in their heads?" She stopped coloring again. "She's really good at distraction. I think that's how she put me in here. Why do you want to cry?"
"Because I'm sad. Because it hurts me so much to be in here. Here. Put the crayon down for a second." He finished the origami crane, pulled out its head and tail, and set it aside. "Make two Ls with your thumbs and fingers and put your thumbs together."
"You burn me, but not as much as you burn her, and not as much as I burn you." She frowned at him in puzzlement but obeyed him after a moment. "Are you going to come back again while it hurts? I'd like it if you did." Little goalpost with little fingers. "You're different."
"I'm not sure if I can...you might get out faster than I can come back." His first shot was miserably wide, probably because his hands were shaking. The second one went in. He grinned, tight and brief. "I'm different because Elohim made me." Then he made a much bigger goalpost for her.
She giggled at the 'goal', a sound that was exactly what it should be for a small child entertained by a simple game, and she said something no little girl could understand. "Elohim is funny?He keeps thinking He'll win in the end. But the end means that we win, so it won't be done until then. It's really slow trying to get out." Her lower lip pouted out at that. Then she flicked one of the candies toward the goal. It fell short, so she tried again.
He kept his hands steady for that, and tried to tell himself that it was reassuring that it took her longer than she'd thought it should. "I'm not high enough on the totem pole to argue those kinds of points. You could go talk to him yourself, if you wanted. I can let you out that way." Pushing the chair out, he ducked down so that his nose was about a foot behind and right between his 'goalposts.'
"No. I'm not strong enough for the Word." She pouted the lower lip out further at that, managed to bean one of the little red candies directly off his nose. Her eyes sparkled with her giggle, and the little sparks were acid-green against the jewel-toned brightness. "Why did you come back today? Is it because she's not here?"
He flinched, then grinned again?this time it was something more closely resembling a natural smile, though it wasn't quite there yet. Straightening up, he said, "I just had one question. I wanted some other advice, but I don't think you're the person I need to be talking to about that." He twisted his hands around into a double thumbs-up, then dropped them onto his thighs so he could rub his sweaty palms dry.
"Okay." She popped another candy in her mouth. "Do you want me to do a drawing for you?"
"I..." John was cute when he was wary, wasn't he? "What would you draw?"
"I could draw lots of things. Do you want a now picture or a then picture, or a will-be picture?" She stood up and went to pull out a clean sheet of paper from the stack. Maybe she was delaying his departure; more likely she had more in mind.
"Can you answer my question, first?"
"Okay." She agreed, while she brought the paper back around the table and sat down, reached for a dark green crayon. "What's your question?"
"There's goodness in her." That wasn't it, not exactly. But it was the closest he'd been able to come to describing what he felt. "Where is it coming from?"
Scowl of adorable little features down at the paper, and she looked over at her original drawing, the maze, the green, the black and red and blue and silver. "He?she calls him Marius?he built up a shell to hide something in, and then he hid it, and he wanted to hide it better, so he tried to add in lies, and he put Druj' in the shell too. So when she's Morana, she's mixed up." She changed her mind, dropped the dark green crayon to trade it for gold. "What he hid is trying to get out, too. Otherwise I couldn't make things happen here."
Names have power. "So it's hurting her." He got it, at that point, and looked up and around at the cancerous, weakening wards pulsing and reflecting the horror he was trapped with back at him. "I'm hurting her." With more than just the occasional I love you, apparently.
"Uh-huh." She started to draw, carefully, with etchings of gold that took even longer to color the paper than the acid-green had. "It makes me laugh. But she hasn't killed you, and she keeps going back. I think the thing Marius hid is getting stronger, maybe. It's hard to feel through Druj'."
He pushed the hat back, dragged both hands down his face, then, and wished he had someone to give him a bag of candies and tell him everything was gonna be okay. After blowing a sigh through his fingers he reseated the cap and said, "Yeah. Draw something for me. Your choice."
"Okay. You're funny. I'll draw you a maybe picture. Who don't you want me to hurt?" She asked it from the very beginnings of their conversation, while the gold swirled its way onto the picture, out from a hollow space. Then she dropped the gold, reached for dark green.
"Morana." For starters. He folded his arms across his chest, pulling the shirt (that navy blue waffle-knit Henley he liked so much) tight in a few different directions, and jogged one knee as he watched her.
"Oh. But she put me in here, and she was supposed to help me." The dark green filled in most of the spaces between the gold, except for the hollow area at the center. She traded for silver, and tongue stuck between her teeth, started to draw in a stick-figure wolf at one side of the hollow space. "Who else?"
"Names have power," he said, very quietly. That knee kept right on bouncing. His eyes, under the shadow of the brim, flicked restlessly from the drawing to her face.
"Oh. I didn't think you knew that, not really." She scowled at the paper, reached for a black crayon. A stick figure woman sprawled at the center of the gold and green, brown made the hair, and red was a spill from the stick-throat outwards, red that blended into and became the gold. Then she started carefully drawing the red into the wolf's mouth. Here, John Angelo Michael Benandanti, have a picture. She pushed it over the table to him and pulled her first drawing close, reached for the acid-green crayon. He took it and examined it as closely as if it were a masterwork and he saw meaning in every brushstroke.
Sarah started humming again, "Hush Little Baby"?apparently it was a favorite?while she pressed acid-green crayon into the black and red of the maze, working through and over one of the walls, over and over until a little stain of color remained on the paper. He laid the sheet down?something told him it was a very bad idea to carry anything of hers out with him. "Thanks, Sarah." He thought he meant it.
"You're welcome. So are you gonna come back and visit me again? You're fun. And you could bring more candies with you." She looked up at him again with those pretty, pretty green eyes surrounded by those red scars, and smiled.
"If I can," he said, and added, "No promises."
"Okay." She accepted that, and bent her head to the drawing again. Press, press, press of green on black and red.
He took a step backward, and another. Pivoting, he stepped into forever...and did not go home. Here was to hoping he wasn't walking in on a torture session.
On God's orders, Simon and John picked off a New Haven househusband of a family with a dog, a cat, and two-point-five kids. John might have felt some guilt about it, if he hadn't been busy dodging semiautomatic fire the whole time while his brother snuck around back for the kill, if they hadn't found the blocks and blocks and blocks of what might have been heroin, or cocaine, or Bliss stashed in the garage. The irony wasn't lost on him. The irony was about fucking killing him, these days.
He dropped Simon off at the house, giving him the big upstairs bed. Then he went back to the roof of the opera house. Couldn't find the elevator. The wall was there. But it didn't sound hollow when he knocked on it, or metallic; there were no seams or buttons or bricks. Just bare plaster painted white. He tried and tried and couldn't shortcut back into the building. Not only could he not reach those gray featureless halls, he wasn't even being shunted into somewhere else in the opera house. It was as if God were simply refusing to hear him.
He had the next day off, his last day of scheduled "physical therapy." He'd walked out. She'd talked about going back to Vrashne, and he'd walked out, so it didn't surprise him to discover that she wasn't at the casino. He told himself that the ache in his chest, his feeling of his ribs squeezing too tightly on his lungs and his heart every time he breathed, was just because he'd put himself in such an impossible fucking position, and not because he missed her. He had nobody to blame but himself.
But there was someone he could talk to. If he was very careful about the questions, and thought very hard about the answers. He prayed, as he always did, for guidance and wisdom. He prayed that Harper was alive and well, somewhere. And then he stepped out of his house and into a certain featureless hallway in the basement of the Throne of Saturn, opened the door that stood directly ahead of him, and walked through.
Here were the things that were the same about sweet little Sarah's cell: the Plexiglas partition, the furniture inside the back half of the room, the papers and crayons and child-like drawings scattered everywhere. The little girl humming lullabies and nursery rhymes to herself while she worked on coloring a particular, larger piece of paper.
Here were the things that were different: the wards around the cell almost visibly fraying at the edges, pulsing occasionally in heartbeat time, the little girl's dress that was blood-red instead of innocent white, and the strawberry blonde shade of the little girl's swaying curls. And the stretch of acid green that ate through the red-and-black crayon maze on the paper, the silver lightning streaks that assaulted the blue at the core of the maze.
In the front half of the room, there was no sound. Just the little girl visible through the partition, coloring with an acid-green crayon over a line of black wax. It still took five or six strokes with the crayon before any color remained on the page, and that was a small bit of progress; it was still, undoubtedly, progress. After a moment, the little girl turned up her head from the page, and looked at John, and smiled with pearly-white baby teeth at him.
She had really very pretty jewel-green eyes, apart from the raw red scars around her lids.
"Morana," John whispered, his voice as constricted as his lungs, and flattened his hands against the glass separating him from utter destruction.
The little girl's smile brightened, and she gestured with little fingers at him, curl and release: 'come here'. The kind of gesture a child gives to an adult when they want to tell a secret, or some piece of important news, like the frog they just found in the stream.
This time he very carefully unclipped the S&W's holster from his belt and laid it on the padded flooring before straightening. If he had to take her on, a gun was not going to help him. Straightening, he studied her for a moment longer. He wondered whether his death would give her the fuel she needed to finish off the wards. He wondered if killing her body under God's grace was enough to banish her. He took a deep breath that made his lungs scream, and slid one Vans-clad foot into a glow of golden light that led him into the heart of an abyss.
Inside the wards was a hellstorm to the supernatural senses while Sarva's manipulations sent lances and dragging pressure against Morana's wards. Little Sarah wasn't humming now, but she was coloring again while she waited for John. She spoke without looking up again. "You came back. It's not the next day, but you came back. Did you bring me something?"
"Yes," he said, and fought his way through the near-physical urge to flee, walking over to the table, where he pulled one of the chairs out and sat. Fishing through the pockets of his jeans, he pulled out a packet of candy-coated chocolate and laid them on the table. The blue she'd drawn was the color he'd seen in Morana's eyes sometimes, wasn't it? The candies were all red.
There was nothing in Sarah's presence that suggested the gleam of bright silver streaking through that core of the maze. "Thank you." She was very mannerly, and put down the crayon to pick up the paper pack of candies. The action relieved some of the swirling magical pressure in the room. "Why did you come back? I didn't think you would."
"Because I said I'd try," he said, and reached for one of the blank pieces of paper with a questioning glance that was only a little watery.
Sarah's head nodded with a bob of curls, though she hadn't actually looked up to see him reach for the paper. She was frowning intently at the packet of candies, tearing it open to scatter them on the table. "They're all red! I like that. Red's my very favorite color, 'specially when it's people-red."
"They don't taste so much like people, though. You want out." That much was screamingly obvious. He would have figured it out by now even if Morana hadn't told him about the failing wards. "What are you gonna do when you get out?" He folded one corner of the paper up to make a triangle, flattened the crease, then creased and tore off the extra strip at the top.
"Oh." Disappointment for the information about the flavor of the candy. But she popped one in her mouth and crunched through the shell before she smiled. "Oh! These are good anyway. You can bring more of them, next time you come." Then she reached again for the green crayon she'd started with. "I don't know. It's almost time, but we were missing someone before she put me in here. I guess I'll try to find him. Then it'll be time!" Happily, while she put crayon to paper again.
He thought about that for a moment as she drew and he started folding up the now-square piece of paper, his callused hands working deftly over the sheet. "I can't help you get free if I know that you're going to hurt the people I care about." Behind his glasses, under the brim of the Yanks cap, his brown eyes were expressive as they studied her.
"That's okay. I think I'm going to get out anyway." She paused from more drawing, pressing on the paper, to pop another candy into her mouth. Then she stopped again to look at the folding piece in his hands. "What are you making?" Making. Creation. It was an endlessly fascinating subject.
"Just something to do with my hands," he said, "so that I don't cry like a little girl while I'm sitting here." He'd come in planning to cut a deal with her. That was right out the fucking window. The other things he wanted to talk about paled into absolute insignificance against her sparkling green eyes. "Distraction, you know?" He eyed her again.
"Oh." She almost sounded disappointed, and pushed a candy across the table at him. "Here. Doesn't chocolate make people feel better in their heads?" She stopped coloring again. "She's really good at distraction. I think that's how she put me in here. Why do you want to cry?"
"Because I'm sad. Because it hurts me so much to be in here. Here. Put the crayon down for a second." He finished the origami crane, pulled out its head and tail, and set it aside. "Make two Ls with your thumbs and fingers and put your thumbs together."
"You burn me, but not as much as you burn her, and not as much as I burn you." She frowned at him in puzzlement but obeyed him after a moment. "Are you going to come back again while it hurts? I'd like it if you did." Little goalpost with little fingers. "You're different."
"I'm not sure if I can...you might get out faster than I can come back." His first shot was miserably wide, probably because his hands were shaking. The second one went in. He grinned, tight and brief. "I'm different because Elohim made me." Then he made a much bigger goalpost for her.
She giggled at the 'goal', a sound that was exactly what it should be for a small child entertained by a simple game, and she said something no little girl could understand. "Elohim is funny?He keeps thinking He'll win in the end. But the end means that we win, so it won't be done until then. It's really slow trying to get out." Her lower lip pouted out at that. Then she flicked one of the candies toward the goal. It fell short, so she tried again.
He kept his hands steady for that, and tried to tell himself that it was reassuring that it took her longer than she'd thought it should. "I'm not high enough on the totem pole to argue those kinds of points. You could go talk to him yourself, if you wanted. I can let you out that way." Pushing the chair out, he ducked down so that his nose was about a foot behind and right between his 'goalposts.'
"No. I'm not strong enough for the Word." She pouted the lower lip out further at that, managed to bean one of the little red candies directly off his nose. Her eyes sparkled with her giggle, and the little sparks were acid-green against the jewel-toned brightness. "Why did you come back today? Is it because she's not here?"
He flinched, then grinned again?this time it was something more closely resembling a natural smile, though it wasn't quite there yet. Straightening up, he said, "I just had one question. I wanted some other advice, but I don't think you're the person I need to be talking to about that." He twisted his hands around into a double thumbs-up, then dropped them onto his thighs so he could rub his sweaty palms dry.
"Okay." She popped another candy in her mouth. "Do you want me to do a drawing for you?"
"I..." John was cute when he was wary, wasn't he? "What would you draw?"
"I could draw lots of things. Do you want a now picture or a then picture, or a will-be picture?" She stood up and went to pull out a clean sheet of paper from the stack. Maybe she was delaying his departure; more likely she had more in mind.
"Can you answer my question, first?"
"Okay." She agreed, while she brought the paper back around the table and sat down, reached for a dark green crayon. "What's your question?"
"There's goodness in her." That wasn't it, not exactly. But it was the closest he'd been able to come to describing what he felt. "Where is it coming from?"
Scowl of adorable little features down at the paper, and she looked over at her original drawing, the maze, the green, the black and red and blue and silver. "He?she calls him Marius?he built up a shell to hide something in, and then he hid it, and he wanted to hide it better, so he tried to add in lies, and he put Druj' in the shell too. So when she's Morana, she's mixed up." She changed her mind, dropped the dark green crayon to trade it for gold. "What he hid is trying to get out, too. Otherwise I couldn't make things happen here."
Names have power. "So it's hurting her." He got it, at that point, and looked up and around at the cancerous, weakening wards pulsing and reflecting the horror he was trapped with back at him. "I'm hurting her." With more than just the occasional I love you, apparently.
"Uh-huh." She started to draw, carefully, with etchings of gold that took even longer to color the paper than the acid-green had. "It makes me laugh. But she hasn't killed you, and she keeps going back. I think the thing Marius hid is getting stronger, maybe. It's hard to feel through Druj'."
He pushed the hat back, dragged both hands down his face, then, and wished he had someone to give him a bag of candies and tell him everything was gonna be okay. After blowing a sigh through his fingers he reseated the cap and said, "Yeah. Draw something for me. Your choice."
"Okay. You're funny. I'll draw you a maybe picture. Who don't you want me to hurt?" She asked it from the very beginnings of their conversation, while the gold swirled its way onto the picture, out from a hollow space. Then she dropped the gold, reached for dark green.
"Morana." For starters. He folded his arms across his chest, pulling the shirt (that navy blue waffle-knit Henley he liked so much) tight in a few different directions, and jogged one knee as he watched her.
"Oh. But she put me in here, and she was supposed to help me." The dark green filled in most of the spaces between the gold, except for the hollow area at the center. She traded for silver, and tongue stuck between her teeth, started to draw in a stick-figure wolf at one side of the hollow space. "Who else?"
"Names have power," he said, very quietly. That knee kept right on bouncing. His eyes, under the shadow of the brim, flicked restlessly from the drawing to her face.
"Oh. I didn't think you knew that, not really." She scowled at the paper, reached for a black crayon. A stick figure woman sprawled at the center of the gold and green, brown made the hair, and red was a spill from the stick-throat outwards, red that blended into and became the gold. Then she started carefully drawing the red into the wolf's mouth. Here, John Angelo Michael Benandanti, have a picture. She pushed it over the table to him and pulled her first drawing close, reached for the acid-green crayon. He took it and examined it as closely as if it were a masterwork and he saw meaning in every brushstroke.
Sarah started humming again, "Hush Little Baby"?apparently it was a favorite?while she pressed acid-green crayon into the black and red of the maze, working through and over one of the walls, over and over until a little stain of color remained on the paper. He laid the sheet down?something told him it was a very bad idea to carry anything of hers out with him. "Thanks, Sarah." He thought he meant it.
"You're welcome. So are you gonna come back and visit me again? You're fun. And you could bring more candies with you." She looked up at him again with those pretty, pretty green eyes surrounded by those red scars, and smiled.
"If I can," he said, and added, "No promises."
"Okay." She accepted that, and bent her head to the drawing again. Press, press, press of green on black and red.
He took a step backward, and another. Pivoting, he stepped into forever...and did not go home. Here was to hoping he wasn't walking in on a torture session.