Douglas Preston - Reliquary

He was standing in a long, monotonous tunnel. The muck on the ground was about six inches deep and thick as axle grease. Completing the visual sweep, he pulled open his cammos and consulted the diagrams inside. If the map was correct, he was in a service tunnel, close to the main line. Perhaps a quarter of a mile down the passage lay the remains of the Crystal Pavilion, the private waiting area deep beneath the long-forgotten Knickerbocker Hotel, which once stood on the corner of Fifth Avenue and Central Park South. It was the largest of the waiting areas, larger than the platforms beneath the Waldorf and the great Fifth Avenue mansions. If there was a central hub of the Devil’s Attic, he would find it within the Crystal Pavilion.

Pendergast moved carefully down the tunnel. The smell of methane and the stench of decay were dizzying; nevertheless, he breathed deeply through his nose, aware of a certain goatish odor he remembered all too well from the darkened Museum subbasement eighteen months before.

The service tunnel merged with another and made a slow bend toward the main line. Pendergast glanced downwards and froze. There in the sludge was a trail of footprints. Bare footprints, apparently fresh. They headed down the track toward the main line.

Taking a long whiff of oxygen, Pendergast bent to examine the track more closely. Allowing for the elasticity of the sludge, the footprints looked normal, if a little broad and squat. Then he noticed the way the toes narrowed to thick points—more like talons than toenails. There were certain depressions in the muck between the toe imprints that suggested webbing.

Pendergast straightened up. It was all true, then. The Wrinklers were real.

He hesitated a moment, taking another hit from the mouthpiece. Then he moved down the service tube, following the tracks, keeping near the wall. When he reached the main junction, he paused for a moment, listened, then spun quickly around the corner into the Weaver stance, gun thrust forward.

Nothing.

The footprints now joined a second, well-traveled path down the center of the main line. Pendergast knelt and examined the trail. It was made of many tracks, mostly bare feet, a few shoes or boots. Some of the feet were extremely broad, almost spadelike. Others looked normal.

Many, many individuals had traveled this trail.

After another careful reconnaissance, he started forward again, passing several side tunnels as he went. Footpaths ran out of these tunnels, converging with the main path. It was almost, Pendergast thought, like the web of tracks one found when hunting in Botswana or Namibia: animals, converging on a watering hole—or a lair.

A large structure loomed ahead. If Al Diamond was correct, this was the remains of the Crystal Pavilion. As Pendergast moved closer, he could make out a long railway platform, its sides layered with the muck of innumerable floods. Carefully, he followed the herd path up onto the platform and looked around, making sure to keep his back against the nearest wall.

The VisnyTek goggles showed, in pitiless greens, a scene of fantastic decay. Gaslight fixtures, once beautiful, now empty and skeletal, hung from the cracked tile mosaics that adorned the walls, and a mosaic ceiling displaying the twelve figures of the zodiac covered the ceiling.

At the rear of the platform, the herd path converged beneath a low archway. Pendergast moved forward, then stopped abruptly. From the other side of the archway came a hot breeze, carrying an unmistakable smell. Reaching into his pack, he felt for the military-issue argon flash lamp, found it, and drew it out. The flash was powerful enough to blind a person temporarily, even in the bright midday sun; the drawback was that it took seven seconds to recharge and the charge pack held enough juice for only a dozen flashes. Taking another whiff of oxygen, he thrust the flash forward with one hand, aimed his gun into the blackness with the other, and stepped beneath the archway.

The night-vision goggles bloomed into static as they tried to resolve the vast space that lay beyond. As best Pendergast could tell, he was in a large, circular room. Far above his head, the remains of an enormous crystal chandelier, filthy and askew, dangled from the groined ceiling. Bits of material that looked like seaweed hung from its still-graceful curves. The ceiling was a great dome, tiled in mirrors that were now shattered and webbed, hovering above him like a ruined, glittering sky. Although he could not make out the center of the large space, Pendergast saw a series of stone steps, placed at irregular intervals, leading ahead into the darkness. The muddy footprints followed these steps. In the center was some kind of structure: an information kiosk, perhaps, or ancient refreshment area.

The walls of the room curved away from him into the distance, pillared in Doric columns of crumbling plaster. Between the nearest columns was an enormous tiled mural: trees, a quiet lake with a beaver dam and beaver, mountains, and an approaching thunderstorm were all depicted in ruined complexity. The decayed condition of the mural and its shattered tiles would have reminded Pendergast of Pompeii, were it not for the furious sea of dried mud and filth that had swept up along its lower edges. Broad streaks of ordure, like a giant’s fingerpainting, ran crazily up the walls. Along the crown of the mural, Pendergast could make out the name ASTOR in complex tilework. He smiled; Astor had originally made his fortune in beaver pelts. This had indeed been a private sanctuary for a few very rich families.

The next bay contained another great mural, this one depicting a steam locomotive crossing a river gorge, pulling a line of hopper and tank cars and framed by snow-capped peaks. The name VANDERBILT was tiled above it—a man who made his fortune in railroads. In front of the mural lay an ancient ottoman, its arms askew and its back broken, mildewed stuffing pouring from the rent pillows. Farther along, a niche marked ROCKEFELLER depicted an oil refinery in a bucolic setting, surrounded by farms, the distillation columns tinged by the sunset.

Pendergast took a step into the large space. He watched the rows of columns recede into darkness, the grand names of the Gilded Age glowing in his goggles: Vanderbilt, Morgan, Jesup, others too faint to make out. He moved slowly, watching for any movement. At the far side of the room, a corridor marked TO HOTEL led to two ornate elevators, their brass doors wide open and stained with verdigris, the cars inside in complete devastation, cables draped along the floor like iron snakes. Inset into a nearby wall between two shattered mirrors was a mahogany schedule board, warped and rotten with worm holes. Though the bottom of the board had fallen away, he could make out the lettering across the top:

WEEKENDS IN SEASON

Dest.

Time

Pocantico Hills

10:14 A

Cold Spring

10:42

Hyde Park

11:3

Beside the timetable was a small waiting area of disintegrating chairs and sofas. Amidst them, Pendergast saw what had once been a Bösendorfer concert grand. The floods had rotted and then stripped most of the wood away, leaving a massive metal frame, keyboard, and wild nest of broken strings: a musical skeleton, now silent.

Pendergast turned toward the center of the room and listened. The silence was broken only by the distant sound of dripping water; he glanced around and saw a stream of shivering drops falling from the ceiling. He began moving forward, scanning in the direction of the archway and platform for a flash of white in the goggles that would indicate something warmer than the surrounding environment. Nothing.

The goatish smell became stronger.

As the shape in the center began resolving itself in the green haze of his goggles, Pendergast realized it was too low and squat to be a kiosk. Now he could see that it was a crudely made structure: a hut of smooth white stones with only a partial roof, apparently unfinished, surrounded by low platforms and pedestals. Moving still closer, he could see that what he had thought were stones were actually skulls.