Will McIntosh - Love Minus Eighty

The box is now open. Zimmerman stares at its contents, swallows, and places the penknife aside. “Understanding isn’t my job,” he says hoarsely. Then he picks up the box with both gloved hands, moving gingerly so as not to disturb what is within, and brings it over to where their captive lies.

“You cannot kill me,” says the bound man. “You cannot touch me. You cannot even harm me.”

Zimmerman licks his lips and swallows again. “You’re right,” he says. “ We can’t.” And he tips the contents of the box over onto the bound man.

Something very small and white and oval comes tumbling out. At first it looks like an egg, but as it rolls across the man’s chest and comes to a stop before his face it becomes clear that it is not. Its surface is rough like sandpaper, and it has two large, hollow eyes, a short, snarling snout with two sharp incisors, and many smaller, more delicate teeth behind those. It is a tiny rodent skull, lacking its jawbone, and this gives it the queer impression of being frozen mid-scream.

The bound man stares at the tiny skull on his chest. For the first time his serene confidence breaks: he blinks, confused, and looks up at his captors. “W-what is this?” he asks weakly. “What have you done?”

Zimmerman does not answer. He turns and says, “Come on! Now!” Then all three of them sprint over the rocky slopes to the chain-link fence, arms pinwheeling when they misstep.

“What have you done to me?” calls the bound man after them, but he gets no answer.

When they reach the fence they pull open one of the holes and help each other through. “Is that it?” asks Norris. “Is it done?”

Before Zimmerman can answer a yellow light flares to life in the trees beside the waterfall. The three men look back, and each is forced to squint even though the source of the light remains hidden. The light seems to shiver strangely, as if the beam is interrupted by many dancing moths, and the way the light filters through the glade gives it the look of a leaning rib cage.

In between two of the tallest pines is what looks like a man, standing erect, hands stiff at its sides. Norris cannot remember its being there before; it is as if this newcomer has appeared out of nowhere, and with its appearance there is a new scent to the air, an odor of shit and rotting straw and putrefaction. Norris’s eyes water at the barest whiff of it. The figure stares down at the bound man, but its head appears strange: sprouting from the top of its skull are two long, thin ears, or possibly horns. It does not move or speak; it does not seem to even breathe. It simply stands there, watching the bound man from the edge of the pines, and due to the bright light from behind it is impossible to discern anything more.

“Oh my God,” whispers Dee. “Is that it?”

Zimmerman turns away. “Don’t look at it!” he says. “Come on, run!”

As they climb back up to the road the voice of the bound man cuts through the sound of the waterfall: “What? N-no! No, not you! I didn’t do anything to you! I never did anything to you, I didn’t!”

“Jesus,” says Norris. He moves to look back.

“Don’t!” says Zimmerman. “Don’t attract its attention! Just get up to the car!”

When they vault over the highway barrier the shouts from the waterfall turn into screams. The light in the trees begins to shudder, as if more and more moths are coming to flit around its source. From this height the three men could look down and see what is happening there at the foot of the waterfall, but they keep their eyes averted, staring into the starlit asphalt or the lightning in the clouds.

They climb into the car and sit in silence as the screams persist. They are screams of unspeakable agony, yet they do not seem to end. The driver hits the tuner on the radio again. It’s Buddy Holly again, but this time he’s singing “Love Is Strange.”

“Must be playing a marathon or something,” says Dee softly.

Norris clears his throat and says, “Yeah.” He turns the volume up until the song overpowers the shrieks from the valley below.

Dee is right: it is a marathon, and next comes “Valley of Tears,” and after that is “I’m Changing All Those Changes.” The screams continue while the men listen to the radio, swallowing and sweating and sometimes clasping their heads. The scent of sweaty terror in the car intensifies.

Then the unearthly light beside the road dies. The men look at each other. Norris turns the radio down, and they find the screams have stopped.

As the last of that septic yellow light drains out of the pines, dozens more lights appear farther up the mesa. They are common office lights, the lights of many structures standing on the mesa. It’s as if they all share a common power source that’s just been turned back on.

“Well, I’ll be damned,” says Zimmerman. “He was right. The lab’s up and running again.”

There is a moment of shocked silence as the three men stare at the lights on the mesa. “Should we call Bolan?” asks Norris.

Zimmerman takes out a cell phone, then rethinks. “Let’s get the body first,” he says.

“Is it safe?” asks Dee.

“It’ll be done by now,” says Zimmerman, but he does not sound totally sure.

At first they do not move. Then Zimmerman opens his car door. After a moment of reluctance, the other two follow suit. They walk to the side of the road and stare down at the waterfall, which is now dark. There is no sign of anything unusual having transpired on the rocks. There is only the spatter of the waterfall, the hiss of the pines, and the pinkish light of the moon.

Finally they climb back over the barrier and begin the awkward journey down. As they descend, Norris takes one last glance up at the lights on the top of the mesa. “I wonder who it’s bringing here,” he says softly.

There is an angry shush from Zimmerman, as if the trees themselves could hear, and the men continue into the darkness in silence.

Soft Apocalypse

Hitchers

Love Minus Eighty

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The characters and events in this book are fictitious. Any similarity to real persons, living or dead, is coincidental and not intended by the author.

Copyright © 2013 by Will McIntosh

Excerpt from American Elsewhere copyright © 2013 by Robert Jackson Bennett

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