Night Watchman

Site Admin Joined: 22 Jul 2006 Posts: 25

Night Watchman was the second horror novel I wrote, after Long Before Dawn, a vampire book, which would make a great movie. (Are you reading this, Hollywood?) Most horror aficionados prefer Night Watchman to my other published novel, A Flock Of Crows Is Called A Murder, but I think the latter is a better book. What do you think?

Night Watchman

PROLOGUE

Nicholas Fenton built the Wright Project.

It's become a home to hundreds of people, dozens of families. They're in their new apartments right now, sleeping in their new beds, thankful for windows that aren't broken and a roof that doesn't leak.

In its month or so of existence, the Wright Project has been good for the poor people of Island City.

And Nicholas Fenton built it.

Now he's going to burn it down.

He parks his car two streets away and walks to the Project. A Mercedes stands out in this neighborhood, night or day, and he doesn't want anyone to figure out he's here. Once the fire starts, and people start to die, it won't matter anymore, but for now it does.

The Wright Project, his project, cost him a lot of money to build. He hopes the locals appreciate it, but doesn't think they do. Seems like they're always yelling about something, always accusing him of having this ulterior motive, that hidden agenda. Sure, he does, but does that mean everybody has to carry on like spoiled children?

Ingrates. They deserve to die.

The tenants are still settling into the Project; he's been watching them coming and going all day, every day, for weeks, with trucks and trailers and bags and boxes. He figures the complex has somewhere over five hundred people in it now and he thinks that's enough. He can expect at least four hundred of them to die in the upcoming fire. He doesn't need to wait for it to reach full occupancy. Besides-got to be honest-he's getting impatient. He wants to get this thing done. He wants what's coming to him.

It's a little before two in the morning when he enters the grounds from the northeast. The bustle of the moving-in process is over for the day and the complex is quiet. He doesn't see anybody as he walks down the angled sidewalk leading from the northeast corner to the center of the Project. He walks fast, taking rapid, tight, nervous little steps.

He pauses at the center of the complex, where the five evenly-placed sidewalks come together at a ring of concrete that encircles a small round building made of red brick. The five apartment buildings loom over him, black in the yellow glare of the tall lights. Their dark silhouettes seem to stand in silent condemnation.

Oh, stop being an ass. They're just buildings, and he built them, for God's sake. He saunters to the roundhouse, flouting the judgement of the buildings, parading the fact that he doesn't care what they think of him. Piles of concrete and steel, anyway, how smart can they be?

He pats the side of the roundhouse. The bricks are rough and warm. Yes, the little roundhouse loves him, doesn't it? It approves of his plan. It's got more sense than the other five buildings put together. He trots along the wall, feeling the bricks scrape and tug at the skin of his palm. When he reaches the deep hollow of the recessed iron door, he slips into the concealing depression and waits there a moment, making sure nobody's going to come and ask him what he's doing.

He checks his watch. Two o'clock. At two-oh-five he fumbles a ring of heavy keys from his pocket, undoes the padlock on the door, and goes inside. It's stifling hot beneath the corrugated steel roof; the day's heat has been trapped in the windowless, airless chamber, it's soaked into the walls and the steel pipes that make up the guts of the roundhouse, guts that supply the complex with its vital nutrients- electrical boxes, the main water and gas valves, the telephone switchboxes. Utility stuff. It all looks kind of grey and ghastly in the hard light of the single naked bulb above the entrance.

He closes the iron door and slides the interior bolt into place.

Made it. He peels off his jacket and drops it on the concrete floor, then undoes the buttons at the wrists of his dress shirt. Should've worn shorts and a tee shirt but that's no way to dress when you're about to become a minor deity. Still, God, so hot!

On the wall beside the door is an electrical switch, a big one made out of metal bent into a square, with a black light bulb in the middle of it. It's like something from a mad scientist's laboratory. Maybe he should laugh maniacally as he throws it. He grasps the handle and moves the lever from the top set of clips into the bottom. The black bulb begins to glow red-a sinister red, Fenton thinks, bloody. Somebody's idea of a joke, except nobody could know what the switch is really for, he wired it up himself.

He laughs maniacally. Just for fun.

Now he proceeds to the center of the roundhouse, a spot marked by a metal lid in the concrete floor. It looks like a service hatch of some kind but beneath it is more cement; it's really only a marker. If you look at it closely you can tell the hinges are fake, but nobody looks at it closely. Nobody gets into the roundhouse except him. He stands on the marker. A thick black cable ending in a small rocker switch dangles just within his reach. He stretches up, takes the bulb in his right hand, and pushes the switch down with his thumb.

The light above the door dims. A sound like lightning crackles from the big mad scientist switch. The circuit from the lever on the wall is completed. Hidden resistors in the walls of the apartment buildings begin getting juice, heating up. In minutes they will ignite the dry wall, which is sadly deficient in its ability to withstand heat; then the paint will catch fire and the paint will burn like the sun itself.

The completion of the special, secret circuit has the side effect of cutting off power to the electromagnetic catches on the fire doors, causing them all to swing shut. And-oops!-they lock. And the smoke detectors and sprinkler activation switches are on the same cut-off circuit. It would be a disastrous design flaw, if it hadn't all been done on purpose.

The fire will be huge and swift and catastrophic and deadly.

He can hardly wait.

Soon people begin to die. Smoke inhalation or burns or crashing into the ground from fifth-floor windows; it doesn't matter how they die so long as they do. Fenton registers each small murder as an electric thrill, a tingle rising up from his feet and sweeping up to his head. Die, he thinks; and die, and die, and die!

Suddenly an explosion outside shakes the little roundhouse. He is startled for a moment, then realizes that he forgot to turn off the gas main. Stupid-how could he have been so stupid! Explosions! They could snuff the fire beneath collapsing walls and ceilings! And now the process has begun, and the black iron wheel that would shut off the gas stands across the roundhouse, far beyond his reach. To turn it off he would-explosion!-have to leave the marker, leave the center of the roundhouse; and then the precious, precious energy would be lost, would shoot beyond his reach and vanish!

Shit, shit, shit!

He tries to keep one foot on the iron lid, stretching his legs to reach out for the valve. It remains beyond his trembling fingers, perhaps a foot away. Another explosion roars its fury, the largest one so far. It deafens him, it shakes the brick walls.

Shit!

He steps off the marker. Immediately the power begins to leave him, rushing out like water swirling down a drain. His hands find the wheel, but before they can turn it the roof bursts open above him and a chunk of flaming masonry and drywall comes crashing down. He screams and falls onto his back. The chunk of the Wright Project strikes the gas main and the other pipes and bends them down toward his prostrate form, stopping scant feet from crushing him. He can feel the heat of the debris and scuttles backward. Through the hole in the roof he sees the sky bloodied by fire, bruised by smoke. He hears the screams and the sirens. He feels his power trickling away.

Something hit his head. He's dizzy and injured, blood is running down his face. He crawls back to the center of the roundhouse, stares stupidly at the burning chunk of building that intrudes on his sanctuary. He thinks he should do something about it but can't decide what.

The clump of masonry shifts and slides closer to the floor. The gas main bursts. He has a moment to stare at the ruptured conduit, a second to smell the sulfur.

Then the roundhouse erupts into a geyser straight from hell.

PART ONE

SHADOW KNIGHT

CHAPTER ONE

One-fifty in the morning. Police officers Nate Watson and Franklin Yaddow respond to a call from Canal Street. They cruise slowly along the pockmarked road. Nate Watson looks out the window, watches the derelict buildings as they pass. It's getting so he can't tell the empty ones from the occupied ones anymore. Buildings are getting so run-down, they could all be abandoned and it wouldn't surprise him.

They pass the wide empty lot where the Wright Project used to be. It's become a big campsite for indigents. They get old oil cans as fireplaces and burn any wood they can find; they also burn garbage, old tires, anything that'll hold a flame. Nate watches them standing around the fire, silhouettes holding out their hands to catch the warmth, and he thinks that ten thousand years ago humans were a bunch of grubby vagrants sitting around makeshift fireplaces and after nearly a dozen millennia things are heading that way again.

"This is the place," says Frank. He guides the patrol car over to the curb in front of a decaying tenement. It looks like it might have been habitable once, with rugged sandstone walls and a front stair that spills down to the sidewalk in a graceful arc. The steps used to be white, though now they're stained with piss and paint and the subtle pattern carved into the banister is chipped and broken. The windows are all covered with black bars, iron ones, bolted onto the aging structure with bullet-sized studs. Nate thinks of a person with black iron bars over his eyes, attached to his orbital ridges right around the socket.

Frank parks behind the burned-out shell of a car. It looks like an old Mustang, Nate isn't sure; much of the vehicle is gone, picked clean like a carcass out in the savannah. No one is ever going to bother towing it away, so it makes a good landmark in this part of Island City. Just call it the Mustang Arms, thinks Nate.

Frank radios the dispatcher that they've arrived and they get out of the car, Frank first, then Nate. They lock the doors. Frank pauses, looking up at the darkened tenement, and says, "Lemme tell ya, Nate, I don't like working this part of town."

"Try living here, Frank," Nate says.

"No thanks."

Nate sees something in the Mustang and flicks on his flashlight, shining it through the hole where the passenger side window used to be. It's a vagrant, sleeping on the musty remains of the driver's seat. Nate flicks off the light before waking the guy. He wonders if maybe the car belongs to the snoring derelict inside it, if the man had something once, was something.

Frank is at the foot of the stairs, gesturing at Nate to follow. He joins his partner and they climb the steps together. The moon goes behind a cloud; the sky is full of them tonight, dark and thick, like floating chunks of concrete. The stairs are marble. Maybe once, years ago, ladies in fur coats came down these steps led by little dogs on leashes and stepped into waiting cabs.

Maybe. Years ago.

Frank pushes open the front door. The hall lights are out. They flick on their flashlights to guide their way. The floor is strewn with crap, newspapers and fast-food wrappers and beer cans, stuff that crunches and crackles as they slog through it. Nate thinks about getting hepatitis shots tomorrow.

He doesn't know, yet, that he has no tomorrow.

The building has elevators. They're in a little nook halfway down the hallway, two doors opening onto the shafts. One door is half-open like a lazy eye; inside it's dark, with no elevator in evidence. The other door is closed. Both doors are riddled with holes. It looks as if somebody stood here one night stabbing the thin metal over and over again with a big screwdriver. The button plate is detached from the wall and hangs down by a tangle of wires. Maybe the guy with the screwdriver got bored with the doors and decided to disassemble the elevator system. Nate thinks of an eyeball plucked from its socket and left dangling by the nerves.

Frank lifts the plate, looks at it, and swears.

"Stairs?" Nate asks.

"Stairs," Frank says.

The stairs are right behind them. They enter the well and start climbing toward the fourth floor. The atmosphere is stale and fetid, like a bathroom that's never been cleaned or aired out. Somewhere below them someone's murmuring something rhythmic, singing or chanting, maybe even humming. Nate finds it hard to imagine someone humming in this environment.

Frank takes the stairs stiffly. Nate has to pause now and again so he doesn't get too far ahead.

"Doo-be-doo-dah," sings the voice from below.

They reach the fourth floor. Frank is puffing and flushed and Nate says, "Too many doughnuts, Franklin."

"Nah, too much sex," Frank replies.

Nate pushes open the door. "I stand corrected."

The hallway is cleaner than the one below, and the lights work sporadically. The floor is hardwood, badly in need of tending; the boards are pale and dry and slightly spongy. They go to apartment 412 and Frank knocks at the door. Nate notices a patch of what looks like dried glue on the door, glue and hundreds of small white hairs.

"Who is it?" asks a reedy voice from inside.

"Police," Frank says.

After a moment the door opens a crack. A heavy brass chain hangs parabolically from the jamb. Two suspicious old eyes look at Frank, then at Nate. They narrow. The thin voice asks to see their badges. They both remove their shields and hold them up for Mrs. Barrett to see. The old eyes are blue; they go with a white, almost yellow, face. They inspect the badges, then the door closes and the chain scrapes against its holder. The door opens again, wider this time. The old woman stands to the left. She's too short to look through the fish-eye peephole the city forced the landlord to install. "Sorry," she says. "You can't be too careful. They dress up like police sometimes."

"That's perfectly understandable, ma'am," Frank says as they enter the small apartment. The old woman closes the door behind them. Nate looks around. They're in the living room. It's small and boxlike, with yellow walls turning brown from age. Like being in a room made out of old cheese, thinks Nate, and the smell could be old cheese too but it's probably nothing as palatable as that. Odors drifting in through the old plaster walls, under the door. There's a blue curtain hanging over the window, only partially concealing its unfriendly black bars, visible on the other side of the glass.

A wooden door is half-closed in the wall to his left, mostly concealing the prim little bedroom beyond. He sees part of a low dark dresser, and on it a sepia picture of two people standing arm in arm.

Frank gets out his little notebook. "You're Linda Barrett?"

Nate turns as the woman answers Frank's question. "Yes, I'm her," she says, folding her thin arms as if defying them to tell her she's not. "I called you."

"You said you needed assistance?" Nate asks.

"Yes." The old woman, arms still folded, sinks carefully into a plush chair. Her eyes flick, birdlike, from Nate to Frank and back again.

Frank plops down into her old beige loveseat. "What, ah, what sort of assistance was it you needed?" he asks.

"Well, it's those kids," she says. She lets the statement hang there. It's those kids. Surely everyone knows about them.

"What kids would these be?" Nate asks.

The nervous blue eyes flick to him. "Local boys. Teenagers." Teenagers is a bad word the way she says it. "They come here-I don't think they even live in this building but the front lock don't work-and they go up on the roof and they do their Black Mass!" Her voice rings with denunciation.

Momentary silence.

"Black mass?" Frank ventures. He doesn't capitalize both words like she does.

"Yes!" Mrs. Barrett points at the ceiling. Her finger doesn't quiver. "They go up there and they chant and they dance and sometimes they even kill things!"

"What sort of things?" Nate asks.

"Little things. Defenseless ones. Puppies. Birds. They killed my cat!" The word cat comes out as an explosion. "I don't know how she got out but she did and they killed her and later I found her skin stuck to my door. With glue!"

"Have these kids threatened you in any way?" Frank asks.

"They killed my cat," she says. Her voice is haughty now. Clearly she can't believe he would even ask. "They march up and down these hallways pounding on the doors, yelling, cursing. They steal. I don't want to think what they would do if they caught me out there. I stay in here except to go to market now, because of them."

"Are they up there now?" Nate asks.

"Yes," she hisses. "Yes, they came caroling through the hallway forty-five minutes ago. When I called you," she adds. "They might still be there. I don't know."

"They armed?"

"Only with knives," she says.

"Would you like us to go up and have a look?" Nate asks. He catches the look Frank gives him and ignores it; the look says what are you, crazy? Nate still thinks it's his job to help people like Mrs. Barrett, and he saw the small white hairs stuck to her door with glue.

"That's why I called you," she says.

Frank pushes himself to his feet and closes his little notebook. He says, "Okay, Mrs. Barrett, we'll go up and see if they're still there. We'll tell 'em to find another chapel for their Black Mass." This time he does capitalize both words, egregiously.

Mrs. Barrett rises as well. "You don't believe in it," she says in a whisper, "but be careful. Listen to me! Beware the power of Satan."

"Don't worry, ma'am," Nate says. "We're pure of heart and noble of purpose. Right, Frank?"

"Maybe you are," Frank says.

They go back into the hallway. Mrs. Barrett shuts the door behind them and locks it four different ways as they head for the stairs. The air is just as rank on the fourth-floor landing as it was on the first, and doesn't improve much as they climb. "Do you think we need backup?" asks Nate as they ascend the last flight to the rooftop door.

"Nah. For a bunch of kids? They got knives, we got guns."

"But what about the power of Satan?"

Frank points to his groin. "I got the power of Satan right here. Now c'mon, or we'll miss the Black Mass."

They stop at the top landing. Frank eases the door open. It's covered in graffiti, so many different colors and designs it could be made of a hundred different shades of wax all run together. They're on the east side of the roof. They step out onto it. The roof is made of tar and was once covered with pebbles, though now it's mostly bare; the remaining stones grind under their shoes as they take a few cautious paces out of the shed where the stairs come out. An old ventilation unit looms in front of them, big as a truck, silhouetted against a flickering glow that emanates from its far side, delineating the sharpness of its edges, the old pipes sticking out from it, an old air grate curling up from its side like a scorched piece of paper.

There's no chanting going on. No singing either. Maybe they missed the Black Mass after all. Nate looks east. The buildings sort of slope downward in that direction, getting shorter toward the outskirts of town, and beyond them the hills rise up dark and massive into what looks like a gigantic wave about to break over the city and sweep it away.

"Hey, pay attention," Frank whispers. He gestures for Nate to circle the ventilation unit to the right and heads for the left side. He's got his gun out and is pointing it up in the air. His own gun is cold in his hand as Nate creeps along the rooftop.

The big, rusting ventilator comes between them. The night is quiet, like it's listening to him, or for him; it's got a surprise planned, something to shock and astound. Nate hears nothing but his heart hammering and wonders why it's racing so. He's done this sort of thing before. Nothing special about this time, nothing unusual, is there?

Just the power of Satan.

But hey, he's pure of heart and-

Then he hears Frank shout and knows the surprise is sprung.

Nate races to the edge of the ventilator and looks around the corner. He sees Frank stumbling backwards pointing his gun at a kid, a scrawny shirtless kid swinging an aluminum baseball bat. There are more kids to the right, standing around a star inside a circle done in white paint on the tar. It's dazzlingly bright, brighter than the five black candles that burn at the vertices of the star.

The kid with the bat connects with Frank's hand. Nate hears the crunch of bone and the clang of metal as Frank's gun flies out of his grip and into the night. He steps out into the candlelight and aims at the rooftop Babe Ruth and shouts, "Freeze!"

The kid ignores him, swinging again at Frank. Frank, wheezing, dodges right into Nate's line of fire. One of the shirtless kids standing around the star, with black hair in a ponytail, reaches out, holding his left hand cupped to the sky as if catching rain. Nate sees this with his peripheral vision but pays no attention; he can see both of Ponytail's hands he's not holding a weapon. The one with the bat is the problem. "Frank, move!" he shouts.

His partner looks wildly over his shoulder, then spins around and slams up against the ventilator. The metal resonates hollowly under the impact, buckles inward slightly.

Ponytail jerks his fist shut.

And Nate's gun flies from his hand, hits the roof and slides toward the kid as if he has it on a string. Nate is too shocked to do anything but watch his weapon whisper to a stop at Ponytail's feet.

The one with the bat swings it into Frank's stomach. All the air whooshes out of him and he doubles over, coughing. Ponytail kneels and reaches for the gun, never taking his eyes off Nate. He looks about twenty, thinks Nate, twenty and hard as a tombstone.

He's getting the gun. He's picking it up.

Nate charges at him.

He hears metal tearing behind him, like an aluminum can getting squashed only much, much louder. "Nate, help!" Frank shouts, but Nate is bearing down on the star. He can't let the kid get his gun.

"Naaaaaaaaate!" The cry is a wail, a fading wail. Ponytail picks up the gun. The kid with the bat whoops a war cry. The other two haven't moved since the melee began, they could be the statues of saints watching murder in a church.

The barrel of the gun is rising toward him. Behind him someone is running. One of the motionless kids leaps as Nate gets closer, trying to tackle him. Nate catches the kid's arm and jerks it around, pulling the boy in and spinning him around. Now the kid is between Nate and the gun. Ponytail is grinning. His teeth are large and startlingly white. "You gonna die, man," he says. His voice is soft and young.

The kid with the bat is coming. Nate spins his hostage away, sending him at the ponytailed one, and turns to meet the charge. He's too late; the bat is coming at his head, whistling through the air. He twists and takes the blow on his scapula. The skinny kid is stronger than he looks, he knocks Nate to his hands and knees and then flat on his stomach by slamming the bat down across his back. The breath rushes out of Nate, stirring the pebbles near his mouth.

One of the other kids joins in, kicking him in the side. Nate looks toward the ventilation unit. There's a gaping hole in its side, the metal bowed inward. Frank is not there. A scrap of fabric flutters from a jagged tooth of rust.

They should have called for backup.

Then a last, vicious blow to his head sends all that spinning away.

His head is full of fuzz, but he hears the soft voice of the kid with the ponytail say, "Bring him here." Hands grasp his wrists and push him from the side, flipping him over. There's ink in the sky. He feels pebbles roll beneath him as they drag him a short distance and lay him down spread-eagled. Five misty globs of light surround him.

"Take his handcuffs," the quiet voice says. Nate feels a tugging at his waist, then the faint clinking of metal. After a moment icy cold encircles one wrist, then another, and he hears a ratchety clicking as the cold tightens. Now hands fumble with his uniform, undoing the buttons. Someone grabs the neck of his undershirt and lifts it, then cuts it away from him so his chest is exposed to the chilly air.

"What are you gonna do, Billy?"

"I'm gonna cut him," the kid with the ponytail says. You're Billy, thinks Nate vaguely. He will remember name and voice. Billy.

Billy straddles him. He can't see him well, his vision is all blurry, and anyway his eyes are drawn to something in his hand, something long and bright and sharp. A knife.

Billy, he thinks, does your mother know you?

The bright thing descends. It pricks Nate's chest, cold as ice. Pain, sharp and jagged, shoots up his neck. Billy works the knife downward, sawing instead of slicing. Nate squirms but his hands are cuffed together around something, and there's a heavy weight on his feet. The pain sears him, radiates in ripples from the furrow Billy creates in his flesh. His blood is hot as it runs off him left and right. At his navel Billy cuts two paths at forty-five degrees. He's done with the knife now, and begins peeling back the skin and meat. Nate can hear it tearing.

"Cool."

"Look at that. Hey, you wanna jump rope?"

Somebody paws at him, he can feel them tugging. Billy curses and slaps the other kid away. The light of the candles is fading, the ink in the sky is getting darker. The voices are fainter. Billy is still lifting the flaps of his flesh, sawing away at some bit of gristle that resists his efforts to pull it apart. "I wanna see his heart, man," one of the kids says. "Open him up some more."

"Man, there's ribs around his heart," Billy says. "Don't be a dipshit. I'd have to saw through bones."

Let them argue over the bones. He's leaving. There's a cold tide rushing over him, lifting him up, carrying him out of his violated flesh and leaving nothing behind but meat and blood and the internal grotesquerie exposed by Billy's knife. The tide carries him off into the night, into the darkness, and he accepts its embrace, draws it over himself like a blanket.

And sleeps.

CHAPTER TWO

It takes Billy a moment to realize that his captive has died; he keeps trying to cut through a last bit of gummy cartilage, and succeeds just as Roberto says, "Aw, man, he's dead. You killed him, man! I wanted to see his heart."

Billy glances at Roberto, standing there with the bat, and then looks at the cop's face. His eyes are wide and glassy, staring up at the sky; and his guts are steaming where the cold air touches them. Billy stands, closing the bloody blade of his butterfly knife. "Shut up, Berto," he says. "This ain't a fucking operation."

"I wanted-"

Billy lunges at Roberto, knocking him onto his back. "Shut the fuck up!" he shouts. "This ain't pay-per-fucking-view!" Roberto scrambles away, cringing like a whipped dog. Billy doesn't waste any more breath on him. He turns to the youngest one, Joey, who's sixteen. Joey is staring at the cop and is very pale. His freckles look like pennies against his ashen skin. "What's the matter, never seen guts before?" Billy asks.

Joey looks at Billy. "Sure. Sure I have," he says after a moment.

"Yuh," Roberto says.

"Lots of guts," Joey says. "See them all the time."

Roberto rolls his eyes. "Gimme a fucking break. You don't even got guts, let alone seen 'em."

Billy grins crookedly. "Okay, Joey, you're so used to guts, you get to stay up here and snuff them candles while we go down to the old lady's apartment."

"What old lady?" Joey asks.

"You know," Billy says. "The bitch with the cat. She called the cops. We'll go teach her whose neighborhood this is, right Chaz?"

"Yeah," says the biggest member of their group, still crouched on one of the cop's feet. He stands up, grinning. "We'll teach her."

Joey feels like he's going to puke as he goes around snuffing the candles. Billy doesn't like him to blow them out, he says you have to lick your fingers and squeeze the wick, but that makes Joey's fingers hurt. He snuffs two the right way as Billy, Roberto, and Chaz head for the shed leading down, then blows out the other three. The cop lies there still and quiet in an ocean of blood. He's dead as dead gets but Joey still has the creepiest feeling, like the guy is watching him somehow.

Guts. He's never seen guts in his life.

He hurries toward the stairs and leaves the roof door open in his haste. He doesn't like it up here alone in the dark, and he doesn't like the dead body handcuffed to the toilet pipe. He can't quite believe they really killed two cops up here tonight. He's scared they'll catch him, but he also feels proud.

Now he's a man.

After Joey leaves, it's quiet on the rooftop. The steam from Nate Watson's cooling body begins to fade. The black candles send curls of smoke into the heedless night air. A bird lands on the roof in a great flutter of feathers, and after a moment hops over to Nate's corpse. It jumps up onto his shoe, sidles up his leg to his waist. It pauses a moment, beady eyes watching for any sign of movement. Then it begins to peck at the ropy tangle of guts.

Suddenly the candles flare back into life. The crow squawks and takes to the air, cawing in distress.

Nate's muscles tense along his body. His limp hands clench into fists. A watery groan escapes his lips. His wrists pull apart and the handcuff chains snap. One shiny, broken link bounces to the rooftop.

Not much time passes.

The stair door clicks shut on the deserted roof.

They make Joey stand guard outside the door. That's okay, he doesn't really feel like participating. He can hear the old lady thumping and grunting inside, trying to scream but she can't because they stuffed her own panties in her mouth, and Joey tries not to listen to her and tries to hum instead and wishes he could be somewhere else, anywhere else.

But he can't leave, because it's not what a man would do.

Somebody comes into the hallway from the stairs. Joey looks at him. The light's patchy and he can't see the person very well, but it looks like a guy. Kind of big. "Beat it, man," says Joey, mustering up as much baritone as he can find. "This ain't your floor tonight."

The guy just stands there. Actually starts moving forward.

"I said blow," Joey says. Funny, he misplaced some of his baritone. "You deaf?"

Keeps coming.

"I got friends in here who'll mess you up," Joey says, but then the guy steps into the tepid illumination of one of the ceiling lights and Joey feels his insides turn into water and slosh down into his feet, feels his freckles freeze and fall right off his face.

It's the dead cop from the roof.

"Uh," Joey says. "Uh, uh, uh!" He scrabbles at the doorknob with one hand while keeping his eyes on the apparition. The cop raises his left hand. Joey's eyes snap there, focus on the gleaming silver band around his wrist and the little length of chain dangling down from it, and suddenly the chain shoots out fast and sure as an arrow. It snares Joey's ankles, wrapping around them and binding them together, and then the cop yanks the chain and Joey falls onto his face on the filthy hardwood. His head bounces off the floor. The cop reels him in. Joey scrabbles for purchase on the threadbare boards, his nails scraping against the wood as they find small nicks, catch, and come loose again.

He flips himself over onto his back. The cop is a silhouette against the ceiling lights. "Don't kill me, man," Joey says. "I didn't hurt you. I didn't do nothing. Don't kill me."

The chain leaps from his right wrist and entwines itself around Joey's head. It stays tight as it retracts sharply. Joey feels a moment of sharp, burning pain, tastes blood gurgling up from his throat into his mouth and wonders where it's coming from. He sees the floor and wonders how he can have wood against his nose when he's lying on his back. Then the world crusts over with frost, and he stops feeling anything.

Nate releases the chains and draws them back to himself. The kid stares wide-eyed into the floor. He lifts up his wrists and looks at them and then looks at the dead kid again. Then he looks at the door to apartment 412.

Closed.

He opens it.

A voice-Billy's voice-says, "I thought you wanted to wait outside."

The other three youths are here; they have the old lady pinned to the floor, one on her hands and the other on her feet, and Billy has his bloody butterfly knife out and is cutting through her slip. None of them are looking at him. They think he's their friend, their friend who he just killed.

For a moment Nate stands motionless. He knows he shouldn't have killed the boy in the hallway and he knows he should give these three a chance to surrender, but he can't force the himself to do it.

He says, "I have to kill you now." It comes out all garbled and drowned, but it gets their attention. They all look up at him. Billy freezes in mid-cut, staring.

"All of you."

"What the fuck?" one of the kids says.

Billy stands up, holding the knife in front of him. He motions the other two to rise and they do. "What are you doing here, man?" Billy says as the old woman scuttles away across the floor, futilely trying to hold the front of her dress shut with one hand while ripping a swatch of fabric out of her mouth with the other. "We didn't teach you good on the roof?"

"Billy, man, he's dead," hisses one of the other boys. "How's he standing here? Where's Joey?"

"He's not dead," Billy says calmly. To Nate: "You're not dead, my man. You fooled us on the roof, didn't you?"

Not a trace of remorse, not a whisper of fear from Billy. Nate's foggy brain pictures his partner's body in a bloody heap at the bottom of an air shaft. He raises his hands. Billy says, "You wanna fight, that it? Okay." He shows Nate his muscles. "We fight."

The chains fly from his wrists and encircle the necks of Billy's two friends. They gasp and clutch the gleaming, icy bands around their throats. Nate can feel them through the chains as if touching them with a second set of hands. They feel slightly warm, soft. They tingle a little bit. The other kid tingled too.

Maybe it's because they're alive.

Let's find out.

He jerks their heads together with a resounding, sodden crack. Blood splashes from the impact point as their faces flatten and elongate.

That was it. No more tingle.

He releases them and they slump to the floor. Billy's composure falters, but he keeps the knife out in front of him.

"Son of a bitch," Billy whispers.

"Now you," Nate says.

Billy spits at the floor in front of Nate and when the sputum hits the hardwood it flashes like a strobe. Nate's eyes swim with glare and spots. Through the hazy afterimage of the flare he sees Billy charging him; he feels the sharp blade of the knife enter his guts. The steel is cold. There's no pain. But there's a tingle.

"I killed you before!" Billy shouts. His voice has a rough, panicky edge. It's not soft anymore. "I'll cut you up this time!"

Nate's chains clatter to the floor, entwine Billy's ankles. Billy hesitates and looks down at his feet. Then he looks back at Nate. His face is ashen.

Nate grins.

And yanks Billy's feet apart.

Far, far apart.

Billy wails and topples over backward, his legs bent at nearly one-eighty. Blood gushes out to stain the crotch of his jeans, it gathers in a pool beneath him. Nate stands there a moment looking down at Billy, then grasps the handle of the knife and withdraws it from his stomach. He tosses it at the fallen youth. It lands flat on his chest, the blade pointing up at his chin. "Here," Nate says. "Put yourself out of your misery, if you can." He's got fluid in his lungs and throat; the words are drowned in it, gurgling. He doesn't know if Billy understands what he has just said. He doesn't care.

Mrs. Barrett slowly rises from her hiding place, staring ashen-faced at Nate. He looks at her, nods, and says: "Ma'am."

"What are you?" she asks.

Now why would she ask him that?

"I'm Nate Watson," he says.

"What are you?"

What is he? He's a man, isn't he?

Isn't he?

He raises his hands and stares at his wrists. A few links of chain dangle from each, the handcuffs glisten in the yellow light of the old floor lamp. He looks at Mrs. Barrett. Then he shuffles out of her apartment. Billy is groaning softly behind him, mumbling "Oh God, Oh God," again and again.

Mrs. Barrett crosses to her doorway but doesn't leave the apartment. She stands there a moment, watching Nate leave, then turns and looks down at Billy. "Does it hurt?" she asks him, her voice a hiss.

"Oh, God!" he wails.

Mrs. Barrett smiles.

Nate Watson doesn't know where he's going, and he has only the foggiest memory of where he's been. Before Mrs. Barrett's apartment he remembers darkness. He remembers voices. He remembers hands touching him, caressing him, dry and diaphanous as cobwebs but buzzing with electricity. They led him, they carried him, but he doesn't know why or how they brought him back to the roof, to the place where he died.

The place where he died. He has not had a near-death experience, with the tunnel and the guiding light and the spirits of departed friends. Although maybe those hands had been spirits of one sort or another.

Maybe not.

He doesn't think they were his friends.

He stumbles into the stairwell and staggers downward. He puts one foot in front of the other as if walking on level ground and the leading pace always drops an extra five inches or so before landing on the next step, making his descent jerky and awkward. He takes the stairs like a drunk.

He's going to leave the building. Yeah, that's what he'll do. Get out of this dump. But where's he going to go afterwards? Home? What would he say to Ellie? His uniform is drenched in blood; if he unbuttons it his innards will spill out like snakes stuffed into a cupboard. And what about the silver cuffs on his wrists? He knows, somehow, that they won't come off; no key will undo their locks, they're part of him now, them and their chains that elongate and retract and constrict at his will. And what about his eyes? His voice? What about his heart? His heart isn't beating, he isn't breathing, for all he knows he'll start to rot in a couple of days.

Oh. Oh. Oh. He doesn't want to rot. Why'd he have to think of that?

No, he definitely can't go home to Ellie. But he will leave this building.

He emerges from the stairwell on the first floor and turns right, shuffling away from the front door. He's just not a front door type of guy anymore. He'll find a side exit into the alley, into the darkness.

Mrs. Barrett waits a long time before she calls an ambulance for the boys. She's pretty sure the two who were sitting on her are dead; the other, the one with the knife and the disgusting, greasy ponytail, is still alive. She hears him groan every so often, or grunt and snuffle like the animal he is. She wants to give the policeman enough time to get away. Obviously the boys did something to him, though she has no idea what; they hurt him, they put the power of Satan into him and he returned it to them tenfold. She doesn't know if she really needs to wait-probably the policeman dissolved into dust after he left her sight, ashes to ashes and so forth-but wait she does.

More time for the boy to suffer.

Nate stumbles out the side door of the tenement, into a damp and narrow alley. There's an old concrete landing outside the door and Nate promptly falls off it, landing on something soft and wet beside it. He stares up into the frozen sky.

Sleep.

Yeah, sleep sounds good.

You've done your work. Now sleep.

Yeah, he's done his work. He rescued Mrs. Barrett from those bad, bad boys and now he can sleep. He's earned a rest, hasn't he?

Just close your eyes and let it all slip away.

He closes his eyes. Lets it all slip away. But then blue and red lights flash across Nate's closed eyelids and bring it all back. The lights rouse him. They're familiar.

Police cars.

Nate sits up. His limbs feel stiff and creaky and cold. He feels garbage shifting in plastic bags beneath him. He's in the alley between Mrs. Barrett's building and the one beside it, way up near the rear corner of the tenement, where a high chain-link fence stands as a barrier to vehicle traffic. Beyond the fence is a damp courtyard of asphalt, a tee intersection with another alley. Both alleys are littered with refuse, boxes and mattresses and tottering heaps of dark green bags like the one he's lying in.

He shakes his head, feeling groggy and weak. What just happened? He was so tired . . . was going to sleep. . . .

But he can't sleep now. They'll find him.

He staggers to his feet and goes to the fence. It's ragged and not as sturdy as it looks. Nate at first intends to climb it, but the rickety barricade shudders when he puts his weight on it so he goes through it instead, using his chains to rip an opening large enough for himself. Jagged bits of wire pluck at him as he squeezes through the gap. He doesn't pay any attention to them.

He turns right at the tee, cutting himself off from the police cars. Cutting himself off from the light.

The ambulance men are loading the boys onto stretchers. There's another dead one in the hall; that makes three. Three dead boys. The one with the ponytail simply will not die, to Mrs. Barrett's disappointment, though he is now apparently in shock and has stopped groaning. The ambulance men mutter among themselves as they gently push his legs back together and guide him into a padded, wheeled stretcher. It will be rough getting him down the stairs, but the elevators don't work so they'll have no choice.

The police came too, faster this time; she told them the first two officers had vanished and that improved their response time. Maybe she should say such things when she calls in the future. More of them came too, three cars and ten cops. Eight of them are prowling around the building searching for their fellows. The other two are standing in Mrs. Barrett's small, bloodied living room attempting to learn things from her and not getting very far. One does most of the talking, the other one stands there looking around. The talking one is named Charlie, though she's heard the other policemen calling him Whitey. The other one is named Andy. He looks so young, like Norman's age when he went to fight the Germans and never came back.

"You say the two dead youths were holding you down." Charlie's reading from the little notebook into which he had recorded that fact only a few minutes before.

"Yes," Mrs. Barrett says.

"And the other one was on top of you."

"Yes."

"And then someone kicked the door open and charged in and started killing them. And you didn't see a thing."

"He moved so fast," Mrs. Barrett says. "He was like a blur. And my eyes, they ain't so good no more. I'm old, y'know."

The policeman flips the notebook closed. He holds up his hand, two fingers extended. "How many fingers?" he asks.

"C'mon, Charlie, cut it out," Andy says. He takes Charlie's hand and lowers it. To Mrs. Barrett he says, "Sorry."

She shrugs.

Charlie stands there looking at her. She looks back. "Thank you, ma'am," he says finally. "I think that will be all."

Out in the hallway, Andy says, "We gonna bring her downtown?"

"Shit, no," Charlie says. He looks up and down the hallway.

"How come?"

Charlie turns to face him. "Okay, picture this. We bring her downtown and show her to a judge and tell him she's obstructing justice by concealing what she knows about the guy who saved her life by killing three-and-a-half punks. She's this hundred-year-old lady with blue hair and all she does is stand there and shiver because she doesn't have another shirt to put on because the dead kids cut up all her clothes. What does the judge say?"

"Uh. . . ."

"Yeah, uh. This whoever he is, he ain't the one made Nate and Frank disappear." Charlie lets that hang in the air a moment then says, "So c'mon, let's see if anybody found anything, and we'll worry about this mystery man some other time. Like never."

"Yeah. . . ." Andy trails off as one of the other cops appears from the stairwell and hurries toward them. Charlie looks over his shoulder, then turns around to face the newcomer as she stops a few feet away.

"Well?" Charlie says. "What's happening, Randi?"

Randi's out of breath from running up the stairs. "We . . . we just found Frank," she says.

"Shit." Charlie takes a moment to breathe. "Show me where. Andy, you ride with the ambulance and stand guard outside that little fucker's hospital room. They take him to surgery, you stand right next to the doctor. Got it?"

"Got it," Andy says.

"What a rotten fucking night," Charlie says.