A J Grayson - The Girl in the Water

And now we’re here, in our kitchen in the little town of Windsor, California, standing in front of the refrigerator on which an orange paper cutout of the word ‘Bump!’ remains the perpetual reminder of our first meeting. We’re still locked together, bodies close, though the kiss has ended. There’s beer on David’s breath – the scent of more than one. Usually means a long day in the shop, and the need to get out from behind the pharmacy counter for one or two before heading home. I have a fleeting desire to ask him about the mundane details of his day, but it passes quickly. Work is work. For today, his is behind him, mine’s behind me.

But I’m not wholly in control, and that conviction bends. The thoughts that come are an invasion, not an invitation. Into the swirl of memory floats a river with a bend I don’t recognize. The woman I’d read about on the computer and thought about so vividly on the drive home. The unexplained.

In this intimate moment I can feel goosebumps rise on my arms.

It almost happens. I almost touch that buzz of electricity that pulls my world out of order and into the mêlée of impulse and memory. I can tell I’m right at the edge of it. There are so many draws.

But I’m anchored in an emotion that’s more powerful than them all. I have my means of resistance. My solidity and my rock, firm and stable in my arms, with his big, beautiful smile.

I pull David’s face towards mine again. I can taste the beer on his lips, and I push him towards the door.

It happened in the night, somewhere in the darkness of the drawn curtains and the muffled lampshades, beneath the cotton sheets and in the midst of the heady scent of all that goes on in the dark room of a husband and wife who’ve found their way there by stumbling up their staircase, falling into bed as clothes are thrown at walls and ceilings.

Somewhere in the midst of all that, the strangeness closed in.

Our bodies were as tightly wound together as two bodies can be. My chin was pressed into his neck, my lips somewhere near his ear, his whole body slippery with anticipation. His breathing was heavy, rhythmic. Mine was keeping pace.

Then came the flash of light. An image, bursting into my mind. A stranger’s face, loving and peaceful and kind and wicked and cruel, all at once. One of Cinderella’s sinister stepsisters, only far more beautiful.

I suddenly remembered the bookshop. The headline, my hours on the Internet, and something beyond all the details I’d read. Someone else’s games and mysteries and … wrongs. My whole body suddenly felt the immense, overwhelming wrongness of the world. And I remembered the highway, the flashes of my thoughts and fears on the drive instantly back before my eyes. The image. The face.

And I can hear whimpering, and crying; the utterances of a creature, crying out and asking me to know its pain. A judgement, cascading into my present.

And in my embrace with my solidity and my rock, my arms wrapped around David’s fiery chest, I said it. The single word that echoed out to me from that strange, white darkness.

A name. Her name.

‘Emma.’

I don’t know where it came from, why it made my lips move. But her name was suddenly there, and I couldn’t keep it to myself.

‘Emma.’

I could feel David’s body go rigid beneath me. There was ice. The cessation of everything. And then the world stopped, and started to fade away.

It pains me to think that Amber might start to understand. There are so many things a husband and a wife share, but there are also things we can’t. She and I can never share the truth. Not this truth. It would destroy her. It’s only the lies that keep us alive, and keep us together.

I’ve struggled with this fact countless times. Since childhood it’s been engrained in all of us that truth is what liberates, and it alone. It will set you free – such a pithy saying, and probably as a general rule it holds true. But not always. No, not always. Sometimes truth is the greatest form of slavery.

At one point in my life I would have rejected that premise with all my energy – I’d have spat out that lies have absolutely no place in life, that they lead only to darkness and torment. That ought to be argued as a matter of principle. But I simply can’t. I won’t. Experience sometimes proves right what social norms insist are wrong.

Everything I’ve built with Amber is a lie. I admit that. It’s all facade. That’s what makes it work – for me, for her. A beautiful, artistic, warm facade of manufactured reality. It isn’t true, perhaps. That depends on your definition. But it’s real.

It’s been real since that day in the Marin Headlands when – for all Amber knows, or ever will – we met for the first time. That happy little headbutt above the sea, the little sidestepping dance that forced the moment not to pass but linger. Some might say the staging of it, the weeks of thoughtful planning, of following her movements and learning her itineraries, of making sure I’d be on just the same path at just the same time, were manipulative or false. But no one accuses a man who plots out a typical first date of being sinister for doing so – deliberating what flowers to buy, what restaurant to go to, what music to ‘accidentally’ have playing on the car stereo during the drive. It’s normal, all of it.

Is what I’ve done really so different? Only the circumstances are out of the norm, and for damned good reasons.

And I still have means of rescuing the situation. Tools. Resources. Not everything is lost.

This is a world I’m not willing to let fall apart.

Not every den of torture looks like what we’re given to expect. Like what the storybooks tell us we should see there. It is possible that there are those which fit the stereotype: dark, damp stone walls with old chains hanging from hooks on the ceiling, the devices of abuse crusted with dirt and gore.

It’s possible.

But reality can be more hellish than those props. Strip away the myth, and what’s left behind – what’s left to be real – is something different. Something worse.

It’s a basement, though not because there is any particular power to darkness or to being underground. It’s a basement because basements bar sound better than ground-level living rooms, and though there isn’t usually that much noise involved in the way torture really works, one does want to guard against even the remotest possibilities.

It is furnished nicely, if simply. The carpeting is higher grade than discount, the walls are a muted tan. There are bookshelves with nondescript volumes – the kind that bespeak a degree of education but not an excess of wealth – and a small desk in one corner, with an old tube-style television on a table in another. The chequered fabric sofa with pull-out bed is the centrepiece of the wall to the right, as one enters, and the door itself is wood-panelled with a knockoff brass knob. The prefab sort with a lightly marked up, push-button lock.

The only sign of the room’s real purpose is the sturdy chrome bolt lock that’s been added above the knob. An ordinary basement den, with no windows or external exits, doesn’t have a deadbolt fitted towards the interior hallway. Especially not the kind that is key operated only, from both sides.

The kind that, once locked, keeps you in as well as out.

As all days do, the new one that began when the daylight crept over the hills has rolled through its usual routines. It’s brought the sun and home and work, but I haven’t been seeing them in a bright light. This day was inaugurated differently, and as it began, so it carried on.