Scott Nicholson - The Manor

The squeaking.

The rats, tumbling in the dark like sweet potatoes or a child's toys. How many?

One was too many. How many squeaks? Mason held his breath so he could listen. Ten. Fifteen. Forty.

Mama was out of town. Somebody had died, that's all Mason knew, because he'd never seen Mama cry so much. And Mason sensed a change in her when Mama gave him all those extra hugs and kisses, held him in her lap for hours. Then she was gone.

And Daddy, Daddy with his bottles, was all Mason knew after that. He lay in the crib, his blankets wet, too scared to wail. If he cried out, maybe Mama would come. But if she didn't, Daddy might. Daddy would only get mad, yell, and break something.

So Mason didn't say anything. Time passed or else it didn't. There was no sun in the window, only the light that Daddy turned on and off. Daddy slept on the floor one time, and Mason looked through the wooden bars of his crib, saw him with his bottle tipped over, the brown liquid pouring out across the floor.

Daddy woke up, rubbed his eyes, yelled, looked in at Mason, left him wet again. Daddy turned out the light, and as the door closed, Mason remembered the vanishing wedge of brightness, how scared he was as it got smaller and smaller, then the door banged shut and the dark was big, thick, everything.

Time passed or else it didn't, Mason's tiny heart pumping, pounding, screaming. Crying would do no good. Mama wasn't here. And his cries might bring them. He closed his eyes, opened them. One black was the same color as the other.

Squatting in the root cellar, Mason closed his eyes, opened them, trying to blink away the memory. He covered his face with his hands. He remembered reading somewhere that rats always went for the soft parts first, the eyes and tongue and genitals. He didn't have enough hands.

This was the memory, the first time. The skittering in the dark. The scratching against the wall. The ticking of claws across wood. The squeak of pleasure at the discovery. So dark in the room that he couldn't see their shiny eyes when he finally forced himself to look.

Mason heard them, though, even with the wet blankets pulled tightly over his head. Soft whispers of tiny tongues against liquid. Daddy's bottle. The spilled stuff had brought them. Would it be enough to fill them? Would they go away?

Please, please, go away.

The squeaking sounded now like laughter, like a moist, slobbery snickering. Go away? Of course they wouldn't go away, this was the dark and they owned the dark. They crept toward the crib, the hush of their tails dragging behind.

No, no, NO.

This was now and not the memory, he wasn't a small child, and he wasn't afraid of rats anymore. And because the root cellar was darker than the world outside, he might be able to see the outline of the door. All he had to do was open his eyes.

Mama's voice came to him, and he couldn't swear whether the words were spoken or merely imagined: It's ALWAYS the memory, Mason. Big Dream Image. Don't ever let go of your dreams. They're the only thing you got in this world.

And something quick and wet and warm flicked at his face, just under his left eye, it may have been only the corner of a blanket shifting, yes, of course, that's what it was, rats don't eat little boys, that's not tiny feet pressing against your legs, it's only your imagination, and you always had a good imagination, didn't you?

And you lived long enough to learn that the darkness doesn't spread out forever, that rats don't own everything, just your dreams, AND DREAMS ARE THE ONLY THING YOU GOT IN THIS WORLD.

And Mama came home finally and opened the door and turned on the light and held you but it was too late, days too late, years too late, the rats had EATEN you, eaten your eyes, now it's dark all the time and they own the dark and Mama can't open the door because they ate her eyes, too, and she's sitting in her rat's-nest chair back in Sawyer Creek and "Looks like you're in a right smart pickle."

The voice, from nowhere and everywhere, seemed part of the dark. And darkness had to have different colors, because the deep black tunnel opened like a throat before his closed eyes. Standing at the edge of the tunnel was Ransom Streater, dripping wounds and all, a perfect row of punctures across the chest of his overalls, one buckle bent. Ransom with his grinning possum mouth and old freckled bald head and dead, dead, dead eyes.

"Korban fetched me up to your bad place," Ransom said. "You ought to see mine. I got it worse than you do, believe me. But Korban says if I'm a good helper, then I get out of my bad place for a little bit. All I gots to do is walk you out."

"Where am I?"

"Why, in the heart, that's where. 'Cepting Korban wants to send you back. Says you got chores to do."

"What chores?" Mason forced his eyes wide, even though the rats were hungry and eyes were soft and juicy. But the image didn't change, Ransom stood shimmering before him, the tunnel stretched out black and deep and cold, only now there was a light at the end, precious light, beautiful light, a ratless light, Mama was opening the door.

Mason stood, heard the rats slither back into their unseen holes. He said the only thing he could think of to say. "You're dead."

"And it ain't no Cakewalk, let me tell you." Ransom touched his wounds, his eyebrows lifting as he fingered a hole in his ribs. "At least you got a choice."

Mason stepped closer, the light beckoned. He took one glance backward in the darkness, heard the noise of whiskers and claws and wet, sharp teeth. He shivered. Korban would keep this place waiting for him.

But the best thing to do was put your fears behind you, as least for as long as possible. Deny their existence. Bury them.

"Where does the tunnel go, Ransom?"

"Why, to the end. Where else would it go?"

Mason swallowed. He remembered Ransom, the old, living Ransom, had said the tunnel led back to the manor's basement. He thought about running for the ladder, but he heard a squeak and a whisper of tongue. Then, Mama's voice, unmistakable, poured from the dark throat of the tunnel. "Dreams is all we got, Mason. Now get in here and make Mama proud."

And it wasn't only Mama's voice, here in the damp, dark dirt of Korban's estate, that bothered him. It was the suggestion of squeakiness in her words, as if they had spilled from between large, curved, rodent teeth.

Mason followed Ransom into the black tunnel, blinked as the light grew unbearably bright, then softened. A lantern was burning on the table. Mason was in the studio, his unfinished statue waiting before him.

"Tunnels of the soul, Mason," Mama said. "I'll be watching."

Mason turned just in time to see the long hideous gray rope of tail disappear into the dark tunnel. Ransom stood by the shadows of the basement. "We all got chores. My batch is waiting back in the tunnel. Yours is on this side, for now."

Mason knelt, trembling, and selected a fluter. He took up his hatchet and approached the statue, studied the rough oak form. Ephram Korban was in there somewhere, just as he inhabited everything. At the heart of it all.

Mama lied. She 'd said dreams were all we had in this world. But we have nightmares, too. And memories.

And sometimes you can't tell the difference.

Mason attacked the wood as if his life depended on it.

Sylva opened the door just before Anna reached the cabin. "Been expecting you."

Anna moved past her without waiting for an invitation. Sylva looked at the folded cloth on the mantel, the one that held her spelling charm. Every trick in the book, and a few she'd only heard whispered around long-ago campfires, were ground up and sprinkled inside the cloth, and words had been said over the concoction that few lips would dare speak. But this wasn't a time for the scared or the faint of heart.