The Collected Short Fiction by Thomas Ligotti Part 18

"What is it?" whispered one of the many awakening voices in the dark bedrooms of the town.

"I said, 'Can you hear them outside'?"

A nightgowned figure rose from the bed and moved as a silhouette to the window. Down in the street was a mob carrying lights and rapping on doors for those still dreaming to join them. Their lamps and lanterns bobbed in the darkness, and the fires of their torches flickered madly. Cl.u.s.ters of flame shot up into the night.

And though the people of the town said not a word to one another, they knew where they were going and what they would do to free their fellow citizen from the madman who had taken him and from the wickedness they knew would one day come from the ruined house of the Van Livenns. And though their eyes saw nothing but the wild destruction that lay ahead, buried like a forgotten dream within each one of them was a perfect picture of other eyes and of the unspeakable shape in which they now lived, and which now had to be murdered.

Mrs Rinaldi's Angel (1991).

First published in A Whisper Of Blood, November 1991.

Also published in: Noctuary, The Nightmare Factory.

From time to time during my childhood, the striking dreams that I nightly experienced would become brutally vivid, causing me to awake screaming. The shouting done, I sank back into my bed in a state of super-enervation resulting from the bodiless adventures imposed upon my slumbering self. Yet my body was surely affected by this nocturnal regimen, exercised harshly by visions both crystalline and confused. This activity, however immaterial, only served to drain my reserves of strength and in a few moments stole from me the benefits of a full night's sleep. Nevertheless, while I was deprived of the privilege of a natural rest, there may also have been some profit gained: the awful opulence of the dream, a rich and swollen world nourished by the exhaustion of the flesh. The world, in fact, as such. Any other realm seemed an absence by comparison, at best a chasm in the fertile graveyard of life.

Of course my parents did not share my feelings on this subject. "What is wrong with him," I heard my father bellow from far down the hallway, his voice full of reproach. Shortly afterward my mother was by my side. "They seem to be getting worse," she would say. Then on one occasion she whispered, "I think it's time we did something about this problem."

The tone of her voice told me that what she had in mind was not the doctor's appointment so often urged by my father. Hers was a more dubious quest for a curative, though one which no doubt also seemed more appropriate to my "suffering." My mother was always p.r.o.ne to the enticements of superst.i.tion, and my troubled dreams appeared to justify an indulgence in unorthodox measures. Her shining and solemn gaze betrayed her own dreams of trafficking with esoteric forces, of being on familiar terms with specialists in a secret universe, entrepreneurs of the intangible.

"Tomorrow your father is leaving early on business. You stay home from school, and then we'll go and visit a woman I know."

Late the following morning, my mother and I went to a house in one of the outlying neighborhoods of town and were graciously invited to be seated in the parlor of the long-widowed Mrs Rinaldi. Perhaps it was only the fatigue my dreams had inflicted on me that made it so difficult to consolidate any lucid thoughts or feelings about the old woman and her remote house. Although the well-ordered room we occupied was flush with sunlight, this illumination somehow acted in the way of a wash over a watercolor painting, blurring the outline of things and subduing the clarity of surfaces. This obscurity was not dispersed even by the large and thickly shaded lamp Mrs Rinaldi kept lighted beside the small divan on which she and my mother sat. I was close to them in an old but respectably upholstered armchair, and yet their forms refused to come into focus, just as everything else in that room resisted definition. How well I knew such surroundings, those deep interiors of dream where everything is saturated with unreality and more or less dissolves under a direct gaze. I could tell how neatly this particular interior was arranged-pictures perfectly straight and tight against the walls, well-dusted figurines arranged along open shelves, lace-fringed tablecovers set precisely in place, and delicate silk flowers in slim vases of colored gla.s.s. Yet there was something so fragile about the balance of these things, as if they were all susceptible to sudden derangement should there be some upset, no matter how subtle, in the secret system which held them together. This volatility seemed to extend to Mrs Rinaldi herself, though in fact she may have been its source.

Casually examined, she appeared to present only the usual mysteries of old women who might be expected to speak with a heavy accent, whether or not they actually did so. She wore the carnal bulk and simple attire of a peasant race, and her calm manner indeed epitomized the peasant quietude of popular conception: her hands folded without tremor upon a wide lap and her eyes mildly attentive. But those eyes were so pale, as was her complexion and gauzy hair. It was as if some great strain had depleted her, and was continually depleting her, of the strong coloring she once possessed, draining her powers and leaving her vulnerable to some tenuous onslaught. At any moment during the time my mother was explaining the reason why we sought her help, Mrs Rinaldi might have degenerated before our eyes, might have finally succ.u.mbed to spectral afflictions she had spent so many years fending off, both for her own sake and for the sake of others. And still she might have easily been mistaken for just another old woman whose tidy parlor displayed no object or image that would betray her most questionable and perilous occupation.

"Missus," she said to my mother, though her eyes were on me, "I would like to take your son into another room in this house. There I believe I may begin to help him."

My mother a.s.sented and Mrs Rinaldi escorted me down a hallway to a room at the back of the house. The room reminded me of a little shop of some kind, one that kept its merchandise hidden in dark cabinets along the walls, in great chests upon the floor, boxes and cases of every sort piled here and there. Nothing except these receptacles, this array of multiform exteriors, was exposed to view. The only window was tightly shuttered and a bare light bulb hanging overhead served as the only illumination.

There was nowhere to sit, only empty floor s.p.a.ce; Mrs Rinaldi took my hand and stood me at the center of the room. After gazing rather sternly down at me for some moments, she proceeded to pace slowly around me.

"Do you know what dreams are?" she asked quietly, and then immediately began to answer her own question. "They are parasites-maggots of the mind and soul, feeding on the mind and soul as ordinary maggots feed on the body. And their feeding on the mind and soul in turn gnaws away at the body, which in turn again affects the mind and the soul, and so on until death. These things cannot be separated, nor can anything else. Because everything is terribly inseparable and affects every other thing. Even the most alien things are connected together with every other thing. And so if these dreams have no world of their own to nourish them, they may come into yours and possess it, exhaust it little by little each night. They use your world and use it up. They wear your face and the faces of things you know: things that are yours they use in ways that are theirs. And some persons are so easy for them to use, and they use them so hard. But they use everyone and have always used everyone, because they are from the old time, the time before all the worlds awoke from a long and helpless night. And these dreams, these things that are called dreams, are still working to throw us back into that great mad darkness, to exhaust each one of us in our lonely sleep and to use up everyone until death. Little by little, night after night, they take us away from ourselves and from the truth of things. I myself know very well what this can be like and what the dreams can do to us. They make us dance to their strange illusions until we are too exhausted to live. And they have found in you, child, an easy partner for their horrible dancing."

With these words Mrs Rinaldi not only revealed a side of herself quite different from the serene wise woman my mother had seen, but she also took me much deeper into things I had merely suspected until that day in the room where chests and strange boxes were piled up everywhere and great cabinets loomed along the walls, so many tightly closed doors and drawers and locked-up lids with so many things on the other side of them.

"Of course," she went on, "these dreams of yours cannot be wholly exorcised from your life, but only driven back so that they may do no extraordinary harm. They will still triumph in the end, denying us not just the restoration of nightly sleep. For ultimately they steal away the time which might have measured into immortality. They corrupt us in every way, abducting us from the ranks of angels we might have been or become, pure and calm and everlasting. It is because of them that we endure such a meager allotment of years, with all their foulness. This is all I can offer you, child, even if you may not understand what it means. For it is surely not meant that you should fall into the fullest corruption before your time."

Her speech concluded, Mrs Rinaldi stood before me, ma.s.sive and motionless, her breathing now a bit labored. I confess that her theories intrigued me as far as I could comprehend them, for at the time her statements regarding the meaning and mechanisms of dream appeared to be founded on somewhat questionable a.s.sumptions, unnecessarily outlandish in their departures from the oldest orthodoxies of creation. Nonetheless, I decided not to resist whatever applications she chose to make of her ideas. On her side, she was scrutinizing my small form with some intensity, engaged in what seemed a psychic sizing up of my presence, as if she was seriously unsure whether or not it was safe to move on to the next step with me.

Apparently resolving her doubts, she shuffled over to a tall cabinet, unlocked its door with a key she had taken from a sagging pocket in her dress, and from within removed two items: a slim decanter half-filled with a dark red liquid, presumably wine, and a shallow wide-mouthed drinking gla.s.s. Carrying these objects back to me, she put out her right hand, in which she held the gla.s.s, and said: "Take this and spit into it." After I had done this, she poured some of the wine into the gla.s.s and then replaced the decanter in its cabinet, which she locked once again. "Now kneel down on the floor," she ordered. "Don't let anything spill out of the gla.s.s, and don't get up until I tell you to do so. I'm going to turn out the light."

Even in total darkness, Mrs Rinaldi maneuvered well about the room, her footsteps again moving away from me. I heard her opening another cabinet, or perhaps it was a large chest whose heavy lid she struggled to push back, its hinges grinding in the darkness. A slight draft crossed the room, a brief drifting current of air without scent and neither warm nor cold. Mrs Rinaldi then approached me, moving more slowly than she had before, as if bearing some weighty object. With a groan, she set it down, and I heard it sc.r.a.pe the floor inches from where I knelt, though I could not see what it was.

Suddenly a thin line of light scored the blackness, and I could see Mrs Rinaldi's old finger slowly lifting the lid of a long low box from which the luminousness emanated. The glowing slit widened as the lid was drawn back farther, revealing a pale brilliance that seemed confined wholly within the box itself, casting not the least glimmer into the room. The source of this light was a kind of incandescent vapor that curled about in a way that seemed to draw the room's darkness into its l.u.s.trous realm, which appeared to extend beyond the boundaries of the visible and made the box before me look bottomless. But I felt the bottom for myself when the whispering voice of Mrs Rinaldi instructed me to place the gla.s.s I was holding down into the box. So I offered the gla.s.s to that fluorescent mist, that churning vapor which was electrical in some way, scintillating with infinitesimal flashes of sharp light, sprinkled with shattered diamonds.

I expected to feel something as I put my hand in the shining box, easily setting the gla.s.s upon its shallow and quite solid bottom. But there was nothing at all to be felt, no sensation whatever-not even that of my own hand. There seemed to be a power to this prodigy, but it was a terribly quiescent power, a cataract of the purest light plummetting silently in the blackness of s.p.a.ce. If it could have spoken it might have told, in a soft and reverberant voice, of the lonely peace of the planets, the uninhabited paradise of clouds, and an antiseptic infinity.

After I placed the gla.s.s of wine and spittle into the box, the light from within took on a rosy hue for just a moment, then resumed its glittering whiteness once again. It had taken the offering. Mrs Rinaldi whispered "amen," then carefully closed the lid upon the box, returning the room to blackness. I heard her replace the object in its tabernacle of storage, wherever that may have been. At last the lights came on.

"You can get up now," Mrs Rinaldi said. "And wipe off your knees, they're a little dirty."

When I finished brushing off my pants I found that Mrs Rinaldi was again scrutinizing me for tell-tale signs of some possible misunderstanding or perhaps misconduct that I might disclose to her. I imagined that she was about to say, "Do not ask what it was you saw in this room." But in actuality she said, "You will feel better now, but never try to guess what is in that box. Never seek to know more about it." She did not pause to hear any response I might have had to her command, for she was indeed a wise woman and knew that in matters such as these no casual oath of abstention can be trusted, all fine intentions notwithstanding.

As soon as we left Mrs Rinaldi's house, my mother asked me what had happened, and I described the ceremony in detail. Nevertheless, she remained at a loss for any simple estimate of what I had told her: while she expected that Mrs Rinaldi's methods might be highly unusual, she also knew her own son's imagination. Still, she was obliged to keep faith with the arcane processes that she herself had set in motion. So after I recounted the incidents that took place in that room, my mother only nodded silently, perhaps bewilderedly.

I should doc.u.ment that, for a certain period of time, my mother's faith in Mrs Rinaldi did not appear to have been misplaced. The very day of our visit to the old woman was for me the beginning of a unique phase of experience. Even my father noted the change in my nighttime habits, as well as a newfound characterology I exhibited throughout the day.

"The boy does seem quieter now," he commented to my mother.

Indeed, I could feel myself approaching a serenity almost shameful in its expansiveness, one that submerged me in a placid routine of the most violent contrast to my former life. I slept straight through each night and barely ruffled my bedcovers. This is not to claim that my sleep was left completely untouched by dreams. But these were no more than ripples on great becalmed waters, pathetic gestures of something that was trying to bestir the immobility of a vast and colorless world. A few figures might appear, tremulous as smoke, but they were the merest invalids of hallucination, lacking the strength to speak or raise a hand against my terrible peace.

My daydreams were actually more interesting, while still being incredibly vague and without tension. Sitting quietly in the cla.s.sroom at school, I often gazed out the window at clouds and sunlight, watching the way the sunlight penetrated the clouds and the way the clouds were filled with both sunlight and shadows. Yet no images or ideas were aroused by this sight, as they had been before. Only a vacant meditation took place, a musing without subject matter. I could feel something trying to emerge in my imagination, some wild and colorful drama that was being kept far away from me, as far away as those clouds, remaining entirely vaporous and empty of either sense or sensation. And if I tried to draw any pictures in my notebook, allowing my hand all possible freedom (in order to find out if it could feel and remember what I could not), I found myself sketching over and over the same thing: boxes, boxes, boxes.

Nonetheless, I cannot say that I was unhappy during this time. My nightmares and everything a.s.sociated with them had been bled from my system, drained away as I slept. I had been purified of tainted substances, sponged clean of strangely tinted stains on my mind and soul. I felt the vapid joy of a lightened being, a kind of clarity which seemed in a way true and even virtuous. But this moratorium on every form of darkness could only last so long before the old impulses a.s.serted themselves within me, moving out like a pack of famished wolves in search of the stuff that once fed them and would feed them again.

For a number of nights my dreams remained somewhat anemic and continued to present only the palest characters and scenes. Thus, they had been rendered too weak to use me as they had before, seizing, as they did, the contents of my life-my memories and emotions, all the paraphernalia of a private history-and working them in their way, giving form to things that had none of their own and thereby exhausting my body and soul. Mrs Rinaldi's theory of these parasites that have been called dreams was therefore accurate... as far as it went. But she had failed to consider, or perhaps refused to acknowledge, that the dreamer on his part draws something from the dream, gaining a store of experience otherwise impossible to obtain, h.o.a.rding the grotesque or ba.n.a.l enigmas of the night to try and fill out the great empty s.p.a.ces of the day. And my dreams had ceased to perform this function, or at least were no longer adequate to my needs-that appet.i.te I had discovered in myself for banqueting on the absurd and horrible, even the perfectly evil. It was this deprivation, I believe, which brought about the change in the nature of my dreaming.

Having such paltry sustenance on which to nourish my tastes-frail demons and insipid decors-I must have been thrown back upon my own consciousness... until finally I became fully aware of my dreaming state, an intensely lucid spelunker in the caves of sleep. Over the course of several nights, then, I noticed a new or formerly obscure phenomenon, something that existed in the distance of those bankrupt landscapes that I had started to explore. It was a kind of sickly mist that lingered about the horizon of each dream, exerting a definite magnetism, a tugging upon the austere scenes that it enveloped from all sides, even hovering high above like an animate sky, a celestial vault that glistened softly. Yet the dreams themselves were cast in the dullest tones and contained the most spare and dilapidated furnishings.

In the very last dream I had of this type, I was wandering amid a few widely scattered ruins that seemed to have arisen from some undersea abyss, all soft and pallid from their dark confinement. Like the settings of the other dreams, this one seemed familiar, though incomplete, as if I was seeing the decayed remnants of something I might have known in waking life. For those were not time-eaten towers rising around,me, and at my feet there were not sunken strongboxes crumbling like rotten flesh. Instead, these objects were the cabinets and cases I remembered from that room in Mrs Rinaldi's house, except now this memory was degenerating, being dragged away little by little, digested by that mist which surrounded everything and nibbled at it. And the more closely I approached this mist, the more decomposed the scenery of the dream became, until it was consumed altogether and I could see nothing but that sparkling, swirling vapor.

It was only when I had entered this foggy void that the true sense of dream, the inherent dread of my visions, was restored to me. Here was a sort of reservoir into which the depths of my dreams were being directed, leaving only a shallow spillover that barely trickled through my nights. Here, I say, without knowing really what place or plane of being it was: some spectral venue, a vacant lot situated along the backstreet of sleep, an outpost of the universe itself... or perhaps merely the inside of a box hidden away in the house of an old woman, a box in which something existed in all its insensible purity, a cloudy ether free of tainted forms and knowledge, freely cleansing others with its sterile grace.

In any event, I sensed that the usual boundaries of my world of sleep had extended into another realm. And it was here, I found, that the lost dreams were fully alive in their essence. Consumed within that barren vapor which I had seen imbibe a mixture of my own saliva and the reddest wine, they lived in exile from the mult.i.tude of unwitting hosts whose experiences they had once used like a wardrobe for those eerie performances behind the curtain of sleep. These were the parasites which forced the sleeper into the dual role of both player and witness in the manipulations of his memories and his emotions, the ungranted abduction of his private history for those wreckless revels called dreams. But here, in that prison of glittering purity, they had been reduced to their primordial state-dreams in abstraction, faceless and formless things from the old time that a very old woman had revealed to me. And although they had neither face nor form, none of the mult.i.tudinous disguises in which I had always known them, their presence was still quite palpable all around me, bearing down upon the richly laden lucidity I had brought with me into a place where I did not belong.

A struggle evolved as that angelic mist-agent of my salvation-held at bay the things that craved my mind and soul, my very consciousness. But rather than join in that struggle, I gave myself up to this ravenous siege, offering my awareness to what had none of its own, bestowing all the treasures of my life on this wasteland of abstractions.

Then the infinite whiteness itself was flooded with the colors of countless faces and forms, a blank sky suddenly dense with rainbows, until everything was so saturated with revels and thick with frenzy that it took on the utter blackness of the old time. And in the blackness I awoke, screaming for all the world.

The next day I was standing on Mrs Rinaldi's porch, watching as my mother repeatedly slammed the doorknocker without being able to summon the old woman. But something told us she was nevertheless at home, a shadow that we saw pa.s.s nervously behind the front window. At last the door opened for us, but whoever opened it stayed on the other side, saying: "Missus, take your child home. There is nothing more that can be done. I made a mistake with him."

My mother protested the recurrence of my "sickness", taking a step inside the house and pulling me along with her. But Mrs Rinaldi only said: "Do not come in here. It is not a fit place to visit, and I am not fit to be looked upon."

From what I could observe of the parlor, it did seem that an essential change had occurred, as if the room's fragile balance had failed and the ever-threatening derangement of its order had finally been consummated. Everything in this interior seemed askew, distorted by some process of decay and twisted out of natural proportion. It was a room seen through a warped and strangely colored window.

And how much stranger this color appeared when Mrs Rinaldi suddenly showed herself, and I saw that her once-pale eyes and sallow face had taken on the same tint, a greenish glaze as of something both rotten and reptilian. My mother was immediately silenced by this sight.

"Now will you leave me?" she said. "Even for myself there is nothing I can do any longer. You know what I am saying, child. All those years the dreams had been kept away. But you have consorted with them, I know you did. I have made a mistake with you. You let my angel be poisoned by the dreams which you could not deny. It was an angel, did you know that? It was pure of all thinking and pure of all dreaming. And you are the one who made it think and dream and now it is dying. And it is dying not as an angel, but as a demon. Do you want to see what it is like now?" she said, gesturing toward a door that led into the cellar of her house. "Yes, it is down there because it is not the way it was and could not remain where it was. It crawled away with its own body, the body of a demon. And it has its own dreams, the dreams of a demon. It is dreaming and dying of its dreams. And I am dying too, because all the dreams have come back."

Mrs Rinaldi then began to approach me, and the color of her eyes and her face seemed to deepen. That was when my mother grasped my arm to pull me quickly from the house. As we ran off I looked over my shoulder and saw the old woman raving in the open doorway, cursing me for a demon.

It was not long afterward that we learned of Mrs Rinaldi's death. True to her own diagnosis, the parasites were upon her, although local gossip told that she had been suffering for years from a cancer of some kind. There was also evidence that another inhabitant of the house survived the old woman for a short time. As it happened, several of my schoolmates reported to me their investigations after dark at the house of the "old witch", a place where I myself was forbidden by my parents to go. So I cannot claim that I observed with my own eyes what crept along the floor of that moonlit house, "like a pile of filthy rags," said one boy.

But I did dream about this prodigy; I even dreamed about its dreams as they dragged every shining angelic particle of this being into the blackness of the old time. Then all my bad dreams abated after a while, just as they always had and always would, using my world only at intervals and gradually dissolving my life into theirs.

The Glamour (1991).

First published in Grimscribe: His Lives And Works, 1991.

Also published in: The Nightmare Factory.

It had long been my practice to wander late at night and often to attend movie theaters at this time. But something else was involved on the night I went to that theater in a part of town I had never visited before. A new tendency, a mood or penchant formerly unknown to me, seemed to lead the way. How difficult to say anything precise about this mood that overcame me, because it seemed to belong to my surroundings as much as to my self. As I advanced farther into that part of town I had never visited before, my attention was drawn to a certain aspect of things-a fine aura of fantasy radiating from the most common sights, places and objects that were both blurred and brightened as they projected themselves into my vision.

Despite the lateness of the hour, there was an active glow cast through many of the shop windows in that part of town. Along one particular avenue, the starless evening was glazed by these lights, these diamonds of plate gla.s.s set within old buildings of dark brick. I paused before the display window of a toy store and was entranced by a chaotic tableau of preposterous excitation. My eyes followed several things at once: the fated antics of mechanized monkeys that clapped tiny cymbals or somersaulted uncontrollably; the destined pirouettes of a music-box ballerina; the grotesque wobbling of a newly sprung jack-in-the-box. The inside of the store was a Christmas-tree clutter of merchandise receding into a background that looked shadowed and empty. An old man with a smooth pate and angular eyebrows stepped forward to the front window and began rewinding some of the toys to keep them in ceaseless gyration. While performing this task he suddenly looked up at me, his face expressionless.

I moved down the street, where other windows framed little worlds so strangely picturesque and so dreamily illuminated in the shabby darkness of that part of town. One of them was a bakery whose window display was a gallery of sculptured frosting, a winter landscape of swirling, drifting whiteness, of snowy rosettes and layers of icy glitter. At the center of the glacial kingdom was a pair of miniature people frozen atop a many-tiered wedding cake. But beyond the brilliant arctic scene I saw only the deep blackness of an establishment that kept short hours. Standing outside another window nearby, I was uncertain if the place was open for business or not.

A few figures were positioned here and there within faded lighting reminiscent of an old photograph, though it seemed they were beings of the same kind as the window dummies of this store, which apparently trafficked in dated styles of clothing. Even the faces of the mannikins, as a glossy light fell upon them, wore the placidly enigmatic expressions of a different time.

But in fact there actually were several places doing business at that hour of the night and in that part of town, however scarce potential customers appeared to be on this particular street. I saw no one enter or exit the many doors along the sidewalk; a canvas awning that some proprietor had neglected to roll up for the night was flapping in the wind. Nevertheless, I did sense a certain vitality around me and felt the kind of acute antic.i.p.ation that a child might experience at a carnival, where each lurid attraction incites fantastic speculations, while unexpected desires arise for something which has no specific qualities in the imagination yet seems to be only a few steps away. Thus my mood had not abandoned me but only grew stronger, a possessing impulse without object.

Then I saw the marquee for a movie theater, something I might easily have pa.s.sed by. For the letters spelling out the name of the theater were broken and unreadable, while the t.i.tle on the marquee was similarly damaged, as though stones had been thrown at it, a series of attempts made to efface the words that I finally deciphered. The feature being advertised that night was called The Glamour.

When I reached the front of the theater I found that the row of doors forming the entrance had been barricaded by crosswise planks with notices posted upon them warning that the building had been condemned. This action was apparently taken some time ago, judging by the weathered condition of the boards that blocked my way and the dated appearance of the notices stuck upon them. In any case, the marquee was still illuminated, if rather poorly. So I was not surprised to see a double-faced sign propped up on the sidewalk, an inconspicuous little board that read: ENTRANCE TO THE THEATER. Beneath these words was an arrow pointing into an alleyway which separated the theater from the remaining buildings on the block. Peeking into this dark opening, this aperture in the otherwise solid facade of that particular street, I saw only a long, narrow corridor with a single light set far into its depths. The light shone with a strange shade of purple, like that of a freshly exposed heart, and appeared to be positioned over a doorway leading into the theater. It had long been my practice to attend movie theaters late at night-this is what I reminded myself. But whatever reservations I felt at the time were easily overcome by a new surge of the mood I was experiencing that night in a part of town I had never visited before.

The purple lamp did indeed mark a way into the theater, casting a kind of arterial light upon a door that reiterated the word "entrance." Stepping inside, I entered a tight hallway where the walls glowed a deep pink, very similar in shade to that little beacon in the alley but reminding me more of a richly blooded brain than a beating heart.

At the end of the hallway I could see my reflection in a ticket window, and approaching it I noticed that those walls so close to me were veiled from floor to ceiling with what appeared to be cobwebs. These cobwebs were also strewn upon the carpet leading to the ticket window, wispy shrouds that did not scatter as I walked over them, as if they had securely bound themselves to the carpet's worn and shallow fiber, or were growing out of it like postmortem hairs on a corpse.

There was no one behind the ticket window, no one I could see in that small s.p.a.ce of darkness beyond the blur of purple-tinted gla.s.s in which my reflection was held. Nevertheless, a ticket was protruding from a slot beneath the semi-circular cutaway at the bottom of the window, sticking out like a paper tongue. A few hairs lay beside it.

"Admission is free," said a man who was now standing in the doorway beside the ticket booth. His suit was well-fitted and neat, but his face appeared somehow in a mess, bristled over all its contours. His tone was polite, even pa.s.sive, when he said, "The theater is under new ownership. "

"Are you the manager?" I asked.

"I was just on my way to the rest room."

Without further comment he drifted off into the darkness of the theater. For a moment something floated in the empty s.p.a.ce he left in the doorway a swarm of filaments like dust that scattered or settled before I stepped through. And in those first few seconds inside, the only thing I could see were the words "rest room" glowing above a door as it slowly closed.

I manuevered with caution until my sight became sufficient to the dark and allowed me to find a door leading to the auditorium of the movie theater. But once inside, as I stood at the summit of a sloping aisle, all previous orientation to my surroundings underwent a setback. The room was illuminated by an elaborate chandelier centered high above the floor, as well as a series of light fixtures along either of the side walls. I was not surprised by the dimness of the lighting nor by its hue, which made shadows appear faintly bloodshot-a sickly, liverish shade that might be witnessed in an operating room where a torso lies open on the table, its entrails a palette of pinks and reds and purples... diseased viscera imitating all the shades of sunset.

However, my perception of the theater auditorium remained problematic not because of any oddities of illumination but for another reason. While I experienced no difficulty in mentally registering the elements around me the separate aisles and rows of seats, the curtain flanked movie screen, the well-noted chandelier and wall lights, it seemed impossible to gain a sense of these features in simple accord with their appearances. I saw nothing that I have not described, yet... the roundbacked seats were at the same time rows of headstones in a graveyard; the aisles were endless filthy alleys, long desolate corridors in an old asylum, or the dripping pa.s.sages of a sewer narrowing into the distance; the pale movie screen was a dust-blinded window in a dark unvisited cellar, a mirror gone rheumy with age in an abandoned house; the chandelier and smaller fixtures were the facets of murky crystals embedded in the sticky walls of an unknown cavern. In other words, this movie theater was merely a virtual image, a veil upon a complex collage of other places, all of which shared certain qualities that were projected into my vision, as though the things I saw were possessed by something I could not see.

But as I lingered in the theater auditorium, settling in a seat toward the back wall, I realized that even on the level of plain appearances there was a peculiar phenomenon I had not formerly observed, or at least had yet to perceive to its fullest extent. I am speaking of the cobwebs.

When I first entered the theater I saw them clinging to the walls and carpeting. Now I saw how much they were a part of theater and how I had mistaken the nature of these long pale threads. Even in the hazy purple light, I could discern that they had penetrated into the fabric of the seats in the theater, altering the weave in its depths and giving it a slight quality of movement, the slow curling of thin smoke. It seemed the same with the movie screen, which might have been a great rectangular web, tightly woven and faintly in motion, vibrating at the touch of some unseen force. I thought: "Perhaps this subtle and pervasive wriggling within the theater may clarify the tendency of its elements to suggest other things and other places thoroughly unlike a simple theater auditorium, a process parallel to the ever-mutating images of dense clouds." All textures in the theater appeared similarly affected, without control over their own nature, but I could not clearly see as high as the chandelier. Even some of the others in the audience, which was small and widely scattered about the auditorium, were practically invisible to my eyes.

Furthermore, there may have been something in my mood that night, given my sojourn in a part of town I had never visited before, that influenced what I was able to see. And this mood had become steadily enhanced since I first stepped into the theater, and indeed from the moment I looked upon the marqee advertising a feature ent.i.tled The Glamour. Having at last found a place among the quietly expectant audience of the theater, I began to suffer an exacerbation of this mood. Specifically, I sensed a greater proximity to the point of focus for my mood that night, a tingling closeness to something quite literally behind the scene. Increasingly I became unconcerned with anything except the consummation or terminus of this abject and enchanting adventure. Consequences were even more difficult to regard from my tainted perspective.

Therefore I was not hesitant when this focal point for my mood suddenly felt so near at hand, as close as the seat directly behind my own. I was quite sure this seat had been empty when I selected mine, that all the seats for several rows around me were unoccupied. And I would have been aware if someone had arrived to fill this seat directly behind me. Nevertheless, like a sudden chill announcing bad weather, there was now a definite presence I could feel at my back, a force of sorts that pressed itself upon me and inspired a surge of dark elation. But when I looked around, not quickly yet fully determined, I saw no occupant in the seat behind me, nor in any seat between me and the back wall of the theater.

I continued to stare at the empty seat because my sensation of a vibrant presence there was unrelieved. And in my staring I perceived that the fabric of the seat, the inner webbing of swirling fibers, had composed a pattern in the image of a face-an old woman's face with an expression of avid malignance, floating amidst wild shocks of twisting hair. The face itself was a portrait of atrocity, a grinning image of l.u.s.t for sites and ceremonies of mayhem. It was formed of those hairs st.i.tching themselves together.

All the stringy, writhing cobwebs of that theater, as I now discovered, were the reaching tendrils of a vast netting of hairs. And in this discovery my mood of the evening, which had delivered me to a part of town I had never visited before and to that very theater, only became more expansive and defined, taking in scenes of graveyards and alleyways, reeking sewers and wretched corridors of insanity as well as the immediate vision of an old theater that now, as I had been told, was under new ownership. But my mood abruptly faded, along with the face in the fabric of the theater seat, when a voice spoke to me. It said: "You must have seen her, by the looks of you." A man sat down one seat away from mine. It was not the same person I had met earlier; this one's face was nearly normal, although his suit was littered with hair that was not his own. "So did you see her?" he asked.

"I'm not sure what I saw," I replied.

He seemed almost to burst out giggling, his voice trembling on the edge of a joyous hysteria. "You would be sure enough if there had been a private encounter, I can tell you."

"Something was happening, then you sat down."

"Sorry," he said. "Did you know that the theater has just come under new ownership?"

"I didn't notice what the showtimes are."

"Showtimes?"

"For the feature."

"Oh, there isn't any feature. Not as such."

"But there must be... something," I insisted.

"Yes, there's something," he replied excitedly, his fingers stroking his cheek.

"What, exactly. And these cobwebs..."

But the lights were going down into darkness. "Quiet now," he whispered. "It's about to begin."

The screen before us was glowing a pale purple in the blackness, although I heard no sounds from the machinery of a movie projector. Neither were there any sounds connected with the images which were beginning to take form on the screen, as if a lens were being focused on a microscopic world. And in some way the movie screen might have been a great gla.s.s slide that projected to gigantic proportions a landscape of organism normally hidden from our sight. But as these visions coalesced and clarified, I recognized them as something I had already seen, more accurately sensed, in that theater. The images were appearing on the screen as if a pair of disembodied eyes was moving within venues of profound morbidity and degeneration. Here was the purest essence of those places I had felt were superimposing themselves on the genuinely tangible aspects of the theater, those graveyards, alleys, decayed corridors, and subterranean pa.s.sages whose spirit had intruded on another locale and altered it. Yet the places now revealed on the movie screen were without an ident.i.ty I could name: they were the fundament of the sinister and seamy regions which cast their spectral ambience on the reality of the theater but which were themselves merely the shadows, the superficial counterparts of a deeper, more obscure realm. Farther and farther into it we were being taken.

The all-pervasive purple coloration could now be seen as emanating from the labyrinth of a living anatomy: a compound of the reddish, bluish, palest pink structures, all of them morbidly inflamed and lesioned to release a purple light. We were being guided through a catacomb of putrid chambers and cloisters, the most secreted ways and waysides of an infernal land. Whatever these s.p.a.ces may once have been, they were now habitations for ceremonies of a private sabbath. The hollows in their fleshy, gelatinous integuments streamed with something like moss, a fungus in thin strands that were threading themselves into translucent tissue and quivering beneath it like veins. It was the sabbath ground, secret and unconsecrated, but it was also the theater of an insane surgery. The hair-like sutures st.i.tched among the yielding entrails, unseen hands designing unnatural shapes and systems, weaving a nest in which the possession would take place, a web wherein the bits and pieces of the anatomy could be consumed at leisure. There seemed to be no one in sight, yet everything was scrutinized from an intimate perspective, the viewpoint of that invisible surgeon, the weaver and webmaker, the old puppet-master who was setting the helpless creature with new strings and placing him under the control of a new owner. And through her eyes, entranced, we witnessed the work being done.

Then those eyes began to withdraw, and the purple world of the organism receded into purple shadows. When the eyes finally emerged from where they had been, the movie screen was filled with the face and naked chest of a man. His posture was rigid, betraying a state of paralysis, and his eyes were fixed, yet strikingly alive. "She's showing us," whispered the man who was sitting nearby me. "She has taken him. He cannot feel who he is any longer, only her presence within him."

This statement, at first sight of the possessed, seemed to be the case. Certainly such a view of the situation provided a terrific stimulus to my own mood of the evening, urging it toward culmination in a type of degraded rapture, a seizure of panic oblivion. Nonetheless, as I stared at the face of the man on the screen, he became known to me as the one I encountered in the vestibule of the theater.

The recognition was difficult, however, because his flesh was now even more obscured by the webs of hair woven through it, thick as a full beard in spots. His eyes were also quite changed and glared out at the audience with a ferocity that suggested he indeed served as the host of great evil. But all the same, there was something in those eyes that belied the fact of a complete transformation-an awareness of the bewitchment and an appeal for deliverance. Within the next few moments, this observation a.s.sumed a degree of substance.