Josh Malerman - Bird Box

“I’m sorry, Victor. I’m so sorry, Victor. I’m sorry.”

When she rose, she thought her body couldn’t take it. She believed that if she had one ounce less of strength, she’d fall down forever. Yet, she stood. As Victor continued to struggle, Malorie felt her way with her back against the wall. At last, she stepped down from the stage.

Victor saw something. Where was it now?

There was no stopping the tears. Yet, a stronger feeling took over: a precious calm. Motherhood. As if she were a stranger to herself, operating for the babies alone.

Crossing the bar, she came close enough to Victor to feel some part of him rub against her leg. Was it his side? His snout? Was he saying good-bye? Or had he thrown her his tongue?

Continuing through the bar, Malorie made it back to where they’d come in. The open cellar door was near. But she didn’t know where.

“STAY AWAY FROM ME! STAY AWAY FROM ME!”

Struggling to carry the gear, Malorie stepped once and felt no ground beneath her shoe.

She lost her balance.

She almost fell.

And she righted herself.

Her voice sounded like a stranger’s as she screamed before exiting the bar.

The sun was hot against her skin.

She moved quickly, back toward the car.

Her thoughts were electric. Events were happening too fast. She slipped off the concrete curb and smacked hard into the car. Frantic, she loaded the things in the back hurriedly. When she got behind the wheel, she wailed.

The cruelty. This world. Victor.

She had the key in the ignition and was about to turn it.

Then, her black hair wet with sweat, she paused.

What were the chances something had gotten into the car? What were the chances something was seated beside her in the passenger seat?

If something had, she’d be delivering it to the children.

To get home , she told herself (even the voice in her mind quivered; even the voice in her mind sounded like it was crying), you absolutely have to look at the odometer .

She flailed blindly about the car, her arms smacking the dashboard wildly, hitting the roof, thrashing against the windows.

She tore her blindfold off.

She saw the black windshield. She was alone in the car.

Using the odometer, she drove the same two and a half miles back, then four to Shillingham, then a quarter mile more to home, hitting every curb and sign on the way. Only five miles an hour; it felt like eternity.

After parking, she gathered what she’d found. Inside, the door secure behind her, she opened her eyes and rushed to the babies’ bedroom.

They were awake. Red faced. Crying. Hungry.

Much later she lay awake shaking on the dank kitchen floor. Staring at the microphones and two small amplifiers beside her, remembering the sounds Victor made.

Dogs are not immune. Dogs can go mad. Dogs are not immune .

And whenever she thought she was going to stop crying, she started again.

Malorie is in the upstairs bathroom. It is late and the house is silent. The housemates are sleeping.

She is thinking of Gary’s briefcase.

Tom told her to be more of a leader in his absence. But the briefcase is bothering her. Just like Don’s sudden interest in Gary bothers her. Just like everything Gary says in his grandiose, artificial way.

Snooping is wrong. When people are forced to live together, their privacy is essential. But isn’t this her duty? In Tom’s absence, isn’t it up to her to find out if her feelings are right?

Malorie turns her ear to the hall. There is no movement in the house. Exiting the bathroom, she turns toward Cheryl’s room and sees the shape of her body, resting. Peering into Olympia’s room, she hears her softly snoring. Quietly, Malorie descends the stairs, her hand on the railing.

She goes to the kitchen and turns the light on over the stove. It is dim and hums softly. But it’s enough. Entering the living room, Malorie sees Victor’s eyes looking back at her. Felix is asleep on the couch. The space on the floor usually occupied by Tom is vacant.

Passing through the kitchen, she approaches the dining room. The stove’s muted light reaches just far enough so that she can see Gary’s body lying on the floor. He’s on his back, asleep.

She thinks.

The briefcase leans against the wall, within arm’s reach of his body.

Softly, Malorie treads across the dining room. Floorboards creak under her weight. She stops and stares intently at his bearded, gaping mouth. He wheezes a bit, steady and slow. Holding her breath, she takes a final step toward him and stops. Hovering above him, she watches closely without moving.

She kneels.

Gary snorts. Her heart flutters. She waits.

To get the briefcase she must reach across his chest. Her arm dangles inches from his shirt as he slumbers. Her fingers grasp the handle when he snorts again. She turns.

He is staring at her.

Malorie freezes. She scans both of his eyes.

She exhales softly. His eyes are not open. Shadows fooled her.

Swiftly, she lifts the briefcase, rises, and leaves the room.

At the cellar door, she stops and listens. She hears no movement from the dining room. The cellar door opens quietly and slowly, but she can’t help the whine of the hinges. It sounds louder than it usually does. As if the whole house is slowly creaking open.

And with just enough room to enter, she slips inside. The house is silent again.

She slowly descends the stairs down to the dirt floor.

She’s nervous; it takes her too long to find the string for the lightbulb. When she does, the room gushes with bright yellow light. Too bright. Like it might wake Cheryl, sleeping two floors above.

Glancing around the room, she waits.

She can hear her own labored breathing. Nothing else.

Her body aches. She needs to rest. But right now, she wants only to see what Gary brought with him.

Stepping to the wooden stool, she sits.

She clicks opens the briefcase.

Inside she sees a worn toothbrush.

Socks.

T-shirts.

A dress shirt.

Deodorant.

And papers. A notebook.

Malorie looks to the cellar door. She listens for footsteps. There are none. She pulls the notebook out from under the clothes and sets the briefcase on the ground.

The notebook has a clean, blue cover. The edges are not bent. It’s as if Gary has kept it, preserved it—in the best condition he could.

She opens it.

And reads.

The handwriting is so exact that it frightens her. It’s meticulously crafted. Whoever wrote it did so with passion. With pride. As she flips through the pages, she sees some sentences are written traditionally, from left to right, others are written in the opposite direction from right to left. Still others, deeper into the notebook, begin at the top of the page and walk down. By the end, the sentences spiral neatly, still perfectly crafted, creating odd designs and patterns, made of words.

To know the ceiling of man’s mindis to know the full power of these creatures. If it’s a matter of comprehension, then surely the results of any encounter with them must differ greatly between two men. My ceiling is different from yours. Much different from the monkeys in this house. The others, engulfed as they are in hyperbolic hysteria, are more susceptible to the rules we’ve ascribed the creatures. In other words, these simpletons, with their childish intellects, will not survive. But someone like myself, well, I’ve already proven my point .

Malorie flips the page.

What kind of a man cowers when the end of the world comes? When his brothers are killing themselves, when the streets of suburban America are infested with murder… what kind of man hides behind blankets and blindfolds? The answer is MOST men. They were told they would go mad. So they go mad .