Alan Moore - Jerusalem

Though the only source of light had been obliterated by the matted substance of whatever present day this was, Michael discovered that he could still see the looming banisters and his companions in surprising detail even through the unrelenting gloom, as if the scene were picked out in fine silver stitches on black velvet. He supposed that since ghosts mostly seemed to venture out at night, it followed that they probably could see well in the dark, along with all their other strange abilities. Phyllis was talking now, her voice low and conspiratorial, her crafty face and dangling rabbit stole drawn with thin tinsel lines upon the blackness.

“Right. I reckon as we’re up in nothing-five or nothing-six. We can dig dayn again into the fifties if we want to, but I don’t think we should do it ’ere, not in the corner ’ouse. This is a special place, and there’s somebody livin’ daynstairs who’s bin put ’ere to take care of watchman duties, so remember: they can see us, they can ’ear us. They can get us into trouble what’s so bad it sets me teeth on edge to even think abayt it.”

Most of this was said with Phyllis’s eyes fixed unwaveringly upon Michael Warren, as if it were mainly for his benefit. He felt he ought to say something, or at least whisper it.

“Whine wiz this corner-how a spatial plays?”

His syllables were acting up again, perhaps because the ghost-storm the Dead Dead Gang had so recently escaped had literally rattled him, but everybody seemed to catch his general drift, particularly Phyllis. Mumbling an aside to the effect that he still hadn’t found his “Lucy-lips” yet, she replied in a dramatically hushed version of the scornful tone that he was starting to imagine was affectionate.

“It’s a special place because it’s like an ’inge between the First and Second Boroughs. It’s to do with this ’ouse being on the corner at the bottom left of Scarletwell Street, while the Works where all the builders goo wiz up on the top right, where the old Tayn ’All used to be. In the four-sided world, they’re folded up so that they’re the same place. From ’ere yer can goo straight up to Mansoul. This is where the rough sleepers sometimes come, if they ever get up the nerve to leave the ghost-seam and to make their way Upstairs.”

Seeing the answering look of blank incomprehension upon Michael’s face, she gave a subdued sigh and then climbed to her feet in a profusion of repeated knees and ankle-socks. The other gang-members obediently followed suit, with Michael getting the idea and also standing up, a moment or two after all the rest. There in the curiously see-through shadows of the landing, Phyllis seemed once more to be addressing only him. Around her mouth the shiny pencil tracings on the blackness that were very likely dimples flickered in and out of being with the movement of her whispering lips.

“I s’pose that since yer ’ere, yer might as well see ’ow it works. If I remember right, they’ve got a Jacob Flight in the end bedroom, just along the landin’. We’ll be right above the front room, where the look-out’s more than likely sittin’ watchin’ telly, so be extra quiet and goo on tiptoes. We’ll just take a quick peek, then we’ll goo daynstairs and ayt the front door before anybody knows we’re ’ere.”

With this the little ghost-girl turned away and started heading for the far end of the landing, walking with a comically exaggerated tiptoe motion like a cat in a cartoon. As he fell in with the four other members of the Dead Dead Gang behind her, Michael looked about him, taking note of his surroundings. Reaching from the stair-head that was somewhere to his rear, the upstairs passageway led to a closed door at its further end, towards which Phyllis was now stealthily advancing. Upon his right were banisters that overlooked the darkened staircase, while upon his left the wallpaper was now adorned with a gorgeous gilt filigree of twisting roses, which was just the way its faded pattern looked to Michael’s ghostly new nocturnal vision. Up ahead of him, Phyll Painter walked on tiptoe at the head of a short, slowly disappearing column of Phyll Painters. Without breaking step, she walked into the closed door, disappearing through it with her queue of duplicates pulled after her like a grey tail. Drowned Marjorie was next to stride into the panelled wood and out of sight, followed by Bill and Reggie. With a gentle shove from John, who walked behind him, Michael stepped into what turned out to be a brief vision of whorled grain, a fraction of a second in duration, before he emerged into the room beyond. Most probably the door had only been there a few years, which would explain why he had barely noticed passing through it.

On the other side, there were faint colours to the wavering light that fell in curtains, dappling the room, delicate pinks and greens and violets that were the first hues he’d seen since entering the ghost-seam. Only as he stood there with the other phantom children, gazing awestruck in the painted underwater shimmer, did he realise how much he’d missed blue and orange whilst he’d wandered through the black and white streets of this half-world. They were like best friends he hadn’t met in ages.

Michael and the ghost gang were now obviously in a bedroom, not unlike his mum and dad’s back down in 1959, except that all the furnishings and fittings looked a bit wrong and he couldn’t see a chamber-pot beneath the bed. There was a dainty bedside table, although where you might expect to find a tin alarm-clock ticking reassuringly there was instead a flat box. It was roughly book-sized and upon its black front edge had numbers made of straight white lines, a little like the numerals that he’d seen people fashion from spilled matchsticks during idle moments. 23: 15 was how it read at present, with the two dots in the middle blinking on and off, and … no. No, it was 23: 16. He’d evidently been mistaken. After staring at this cryptic message for a while and wondering what it meant, Michael at last thought to look up towards the source of the pale rainbow light that bathed the room where he and his dead friends were trespassing.

Up in the far right corner of the ceiling was an opening, perhaps the entrance to a loft and roughly four feet square. This blazed with pure and undiluted colour like a jazzy modern painting, splashing a pale echo of its vivid shades onto the grey and upturned faces of the spectre-children gathered there below. Immediately beneath this dazzling panel an impossibly cramped flight of steps descended to the bedroom floor, with both its angle and its shallow tread more like a ladder than a staircase. Michael thought that both the window to another world and the strange rung-stairs underneath it looked like they were made from something different to the ordinary room that these were situated in. They looked like they were made from ghost-stuff, and he doubted that they would be visible to ordinary people. Standing next to him with shivering bands of watery rose and turquoise slipping over the sharp contours of her face, Phyllis explained what the fluorescent trapdoor was in tones so hushed that they were barely audible.

“It’s what they call a crook-door, and that stairway underneath it wiz a Jacob Flight. It leads straight to the Works, up in Mansoul. That’s why yer can see all the colours everywhere. It’s been in place ’ere on this corner or nearby since Saxon times, ever since ’ere-abayts became a proper settlement. It’s an important entry to the Second Borough, and that’s why there’s always been somebody ’ere to sit watch on the gate and keep it safe. The ones what mind the corner between one world and the other, they’re a scary bunch of customers what we call Vernalls. They’re like deathmongers: they’re ’uman, but they’re half-Upstairs even before they’ve kicked the bucket.”