Anna Dressed in Blood Read online

  “I thought you were researching a paper, Thomas,” Carmel comments, and Thomas starts to sputter and explain. I don’t care a lick about what they’re saying. I’m staring at her picture, a picture of a living girl, with pale skin and long, dark hair. She’s not quite daring to smile, but her eyes are bright, and curious, and excited.

  “It’s a shame,” Carmel sighs. “She was so pretty.” She reaches down to touch Anna’s face, and I brush her fingers away. Something’s happening to me, and I don’t know what it is. This girl I’m looking at is a monster, a murderer. This girl for some reason spared my life. I carefully trace along her hair, which is held up with a ribbon. There’s a warm feeling in my chest but my head is ice-cold. I think I might pass out.

  “Hey, man,” Thomas says, and shakes my shoulder a little. “What’s wrong?”

  “Uh,” I sort of gurgle, not knowing what to say to him, or myself. I look away to buy time, and see something that makes my jaw clench. There are two police officers standing at the library desk.

  Saying anything to Carmel and Thomas would be stupid. They’d instinctively look over their shoulders and that would be suspicious as hell. So I just wait, discreetly tearing Anna’s obituary out of the brittle newspaper. I ignore Carmel’s furious hiss of “You can’t do that!” and put it into my pocket. Then I discreetly cover the newspaper up with books and schoolbags and point down to a picture of a cuttlefish.

  “Any idea where that fits in?” I ask. They’re both looking at me like I’ve come unglued. Which is fine because the librarian has turned and pointed at us. The cops are starting to make their way back to our table, just like I knew they would.

  “What are you talking about?” Carmel asks.

  “I’m talking about the cuttlefish,” I say mildly. “And I’m telling you to look surprised, but not too surprised.”

  Before she can ask, the tramping noise of two men laden down with cuffs, flashlights, and sidearms is loud enough to warrant turning around. I can’t see her face, but I hope she doesn’t look as mortifyingly guilty as Thomas does. I lean into him and he swallows and pulls himself together.

  “Hi, kids,” the first cop says with a smile. He’s a stout, friendly looking guy who’s about three inches shorter than me and Carmel. He handles this by staring Thomas directly in the eyes. “Doing some studying?”

  “Y-yeah,” Thomas stutters. “Is there something wrong, Officer?”

  The other cop is poking around our table, looking at our open textbooks. He’s taller than his partner, and leaner, with a hawk’s nose full of pores and a small chin. He’s bug ugly, but I hope not mean.

  “I’m Officer Roebuck,” the friendly one says. “This is Officer Davis. Mind if we ask you kids some questions?”

  A group shrug passes amongst us.

  “You all know a boy by the name of Mike Andover?”

  “Yes,” Carmel says.

  “Yes,” Thomas agrees.

  “A little,” I say. “I just met him a few days ago.” Damn this is unpleasant. Sweat is breaking out on my forehead and I can’t do anything about it. I’ve never had to do this before. I’ve never gotten anyone killed.

  “Did you know that he’s disappeared?” Roebuck watches us each carefully. Thomas just nods; so do I.

  “Have you found him yet?” Carmel asks. “Is he all right?”

  “No, we haven’t found him. But according to eyewitnesses, you two were among the last people seen with him. Care to tell us what happened?”

  “Mike didn’t want to stay at the party,” Carmel says easily. “We left to go hang somewhere else, we didn’t exactly know where. Will Rosenberg was driving. We were out on back roads off of Dawson. Pretty soon Will pulled over and Mike got out.”

  “He just got out?”

  “He was upset about me hanging with Carmel,” I interrupt. “Will and Chase were trying to make nice, calm him down, but he wouldn’t go for it. He said he was going to walk home. That he wanted to be by himself.”

  “You are aware that Mike Andover lived at least ten miles from the area you’re talking about,” Officer Roebuck said.

  “No, I didn’t know,” I reply.

  “We tried to stop him,” Carmel pipes up, “but he wouldn’t listen. So we left. I thought he would just call later, and we’d go pick him up. But he never did.” The ease of the lie is disturbing, but at least it explains the guilt clearly written on all of our faces. “He’s really missing?” Carmel asks shrilly. “I thought—I hoped it was just a rumor.”

  She sells it for us all. The cops visibly soften at her worry. Roebuck tells us that Will and Chase took them out to where we dropped Mike off, and that there was a search party started. We ask if we can help but he waves us off like it’s better left to professionals. In a few hours Mike’s face should be plastered all over the news. The entire city should have mobilized into the woods with flashlights and raingear, combing for traces of him. But somehow I know that they won’t. This is all Mike Andover is going to get. One lame search party and a few questioning cops. I don’t know how I know. Something in their eyes, like they’re walking half-asleep. Like they can’t wait for it to be over, for hot meals in their bellies and their feet up on the couch. I wonder if they can sense that there’s more going on here than they can deal with, if Mike’s death is broadcasting on a low frequency of the weird and unexplainable, telling them in a soft hum to just leave it alone.

  After a few more minutes officers Roebuck and Davis say their good-byes to us and we sink back into our chairs.

  “That was…” Thomas starts, and doesn’t finish.

  Carmel gets a call on her cell and picks it up. When she turns away to talk I hear her whisper things like “I don’t know” and “I’m sure they’ll find him.” After she hangs up her eyes are strained.

  “Everything okay?” I ask.

  She holds her phone up sort of listlessly. “Nat,” she says. “She’s trying to comfort me, I guess. But I’m not in the mood for a girls’ movie night, you know?”

  “Is there anything we can do?” Thomas asks gently, and Carmel starts riffling through papers.

  “I’d just like to get this bio homework done, honestly,” she says, and I nod. We should take time for some normalcy now. We should work and study and prepare to ace our quiz Friday. Because I can feel the newspaper clipping in my pocket like it weighs a thousand pounds. I can feel that photo of Anna, staring out from sixty years ago, and I can’t help myself from wanting to protect her, wanting to save her from becoming what she already is.

  I don’t think there’ll be much time for normalcy, later on.

  CHAPTER TWELVE

  I wake up covered in sweat. I had been dreaming, dreaming of something leaning over me. Something with crooked teeth and hooked fingers. Something with breath that smelled like it had been eating people for decades without brushing in between. My heart’s pounding in my chest. I reach under my pillow for my dad’s athame, and for a second I could swear my fingers close on a cross, a cross twisted round with a rough snake. Then my knife handle is there, safe and sound in its leather sheath. Fucking nightmares.

  My heart starts to slow down. Glancing down at the floor, I see Tybalt, who is glaring at me with a puffed-up tail. I wonder if he had been sleeping on my chest and I catapulted him off when I woke. I don’t remember, but I wish that I did, because it would’ve been hilarious.

  I think about lying back down, but don’t. There’s that annoying, tense feeling in all of my muscles, and, even though I’m tired, what I really want to do is some track and field—throw a shot put and run some hurdles. Outside, the wind must be blowing, because this old house creaks and groans on its foundation, floorboards moving like dominoes so they sound like fast footsteps.

  The clock by my bed reads 3:47. For a second I blank on what day it is. But it’s Saturday. So at least I don’t have to be up for school tomorrow. Nights are starting to bleed together. I’ve had maybe three good nights of sleep since we got here.

  I
get out of bed without thinking and pull on my jeans and a t-shirt, then stuff my athame into my back pocket and make my way down the stairs. I pause only to put on my shoes and slide my mom’s car keys off the coffee table. Then I’m driving through dark streets under the light of a growing moon. I know where I’m going, even though I can’t remember deciding to do it.

  * * *

  I park at the end of Anna’s overgrown driveway and get out of the car, still feeling like I’m mostly sleepwalking. None of the nightmare tension is gone yet from my limbs. I don’t even hear the sound of my own feet on the rickety porch steps, or feel my fingers close around the doorknob. Then I step in, and fall.

  The foyer is gone. Instead I drop about eight feet and face-plant in dusty, cold dirt. A few deep breaths get the wind back in my lungs and on reflex I pull my legs up, not thinking anything but what the fuck? When my brain switches on again I wait in a half-crouch and flex my quads. I’m lucky to have both of my legs still in working order, but where the hell am I? My body feels just about ready to run out of adrenaline. Wherever this is, it’s dark, and it smells. I try to keep my breathing shallow so I don’t panic, and also so I don’t breathe in too much. It reeks of damp and rot. Lots of things have either died down here or died elsewhere and been stuffed here.

  That thought makes me reach back for my knife, my sharp, throat-cutting security blanket, as I look around. I recognize the ethereal gray light from the house; it’s leaking down through what I guess are floorboards. Now that my eyes are adjusted, I see that the walls and floor are part dirt and part rough-cut stone. My mind does a quick replay of me walking up the front porch steps and coming through the door. How did I end up in the basement?

  “Anna?” I call softly, and the ground lurches beneath my feet. I steady myself against a wall, but the surface under my hand isn’t dirt. It’s squishy. And moist. And it’s breathing.

  The corpse of Mike Andover is half-submerged in the wall. I was resting my hand against its stomach. Mike’s eyes are closed, like he’s sleeping. His skin looks darker and looser than it was before. He’s rotting, and from the way he’s situated in the rocks, I get the impression that the house is slowly taking him over. It’s digesting him.

  I move away a few steps. I’d really rather he not tell me about it.

  A soft shuffling sound gets my attention and I turn to see a figure hobbling toward me, like it’s drunk, wobbling and lurching. The shock of not being alone is momentarily eclipsed by the heaving of my stomach. It’s a man, and he reeks of piss and used-up booze. He’s dressed in dirty clothes, an old tattered trench coat and pants with holes in the knees. Before I can get out of the way, a look of fear crosses his face. His neck twists around on his shoulders like it’s a bottle cap. I hear the long crunch of his spinal cord and he crumples to the ground at my feet.

  I’m starting to wonder if I ever woke up at all. Then, for some reason, my father’s voice bubbles up between my ears.

  “Don’t be afraid of the dark, Cas. But don’t let them tell you that everything that’s there in the dark is also there in the light. It isn’t.”

  Thanks, Dad. Just one of the many creepy pearls of wisdom you had to impart.

  But he was right. Well, right about the last part at least. My blood is pounding and I can feel the jugular vein in my neck. Then I hear Anna speak.

  “Do you see what I do?” she asks, but before I can answer, she surrounds me with corpses, more than I can count, strewn across the floor like trash, and piled up to the ceiling, arms and legs arranged together in a grotesque braid. The stench is horrible. In the corner of my eye, I see one move, but when I look closer I realize that it’s the movements of bugs feeding on the body, twisting beneath the skin and lifting it in impossible little flutters. Only one thing on the bodies moves of its own power: The eyes roll lazily back and forth in their heads, mucus-covered and milky, like they’re trying to see what’s happening to them but no longer have the energy.

  “Anna,” I say softly.

  “These are not the worst,” she hisses. She’s got to be kidding. Some of these corpses have had horrible things done to them. They’re missing limbs or all of their teeth. They’re covered in dried blood from a hundred crusted-over cuts. And too many of them are young. Faces like mine or younger than mine, with the cheeks torn away and mold on their teeth. When I look back behind me and realize that Mike’s eyes have opened, I know I have to get out of here. Ghost-hunting be damned, to hell with the family legacy, I’m not staying one minute longer in a room filling up with bodies.

  I’m not claustrophobic, but right now I seem to have to tell myself so very loudly. Then I see what I didn’t have time to before. There’s a staircase, leading up to the main level. I don’t know how she had me step directly into the basement, and I don’t care. I just want back up in the foyer. And once I’m up there, I want to forget what’s residing underneath my feet.

  I make for the stairs, and that’s when she sends the water, gushing in and rising up from everywhere—cracks in the walls, seeping up right through the floor. It’s filthy, as much slime as it is liquid, and in seconds it’s creeping up to my waist. I start to panic as the corpse of the bum with the broken neck floats past. I do not want to be swimming with them. I don’t want to think about everything that’s under the water, and my mind’s eye makes up something really stupid, like corpses from the bottom of the stacks opening their jaws suddenly and scrambling out along the floor, hurrying to grab my legs like crocodiles. I push past the bum, bobbing like a wormy apple, and am surprised to hear a little moan escape my lips. I’m going to gag.

  I make it to the stairs just as a pillar of corpses shifts and collapses with a sick splash.

  “Anna, stop!” I cough, trying to keep the green water out of my mouth. I don’t think I’m going to make it. My clothes are as heavy as in a nightmare and I’m crawling up the steps in slow motion. Finally I slap my hand onto dry floor and jerk myself onto the ground level.

  Relief lasts about half a second. Then I shriek like a chicken and throw myself away from the basement door, expecting water and dead hands coming to drag me back down. But the basement is dry. The gray light spills down and I can see down the steps and a few feet of floor. It’s all dry. There’s nothing there. It looks like any cellar that you might store canned goods in. To make me feel even stupider, my clothes aren’t wet either.

  Damn Anna. I hate that time-space manipulation, hallucination, whatever. You never get used to it.

  I stand up and brush my shirt off even though there’s nothing to brush off, looking around. I’m in what used to be the kitchen. There’s a dusty black stove and a table with three chairs. I’d really like to sit down on one, but the cupboards start opening and closing by themselves, drawers slamming shut and the walls starting to bleed. Slamming doors and smashing plates. Anna is acting like a common poltergeist. How embarrassing.

  A sense of safety settles on my skin. Poltergeists I can take. I shrug my shoulders and walk out of the kitchen and into the sitting room, where the dust-sheeted sofa looks comfortingly familiar. I collapse down on it in what I hope looks like a pretty decent impression of bravado. Never mind that my hands are still shaky.

  “Get out!” Anna shouts from directly over my shoulder. I peek over the back of the couch and there she is, my goddess of death, her hair snaking out in a great black cloud, her teeth grinding hard enough to make living gums bleed. The impulse to spring up with my athame at the ready makes my heart beat double time. But I take a deep breath. Anna didn’t kill me before. And my gut has a hunch that she doesn’t want to kill me now. Why else would she waste time on the corpse-filled light show downstairs? I give her my best cocky grin.

  “What if I won’t?” I ask.

  “You came to kill me,” she growls, obviously deciding to ignore my question. “But you can’t.”

  “What part of that actually makes you angry?” Dark blood moves through her eyes and skin. She’s terrible, disgusting—a killer. And I susp
ect that I am completely safe with her. “I will find a way, Anna,” I promise. “There will be a way to kill you, to send you away.”

  “I don’t want to be away,” she says. Her whole form clenches and the darkness melts back inside, and standing before me is Anna Korlov, the girl from the newspaper photo. “But I deserve to be killed.”

  “You didn’t once,” I say, not exactly disagreeing. Because I don’t think those corpses downstairs were just creations of her imagination. I think that somewhere, Mike Andover probably is getting slowly eaten by the walls of this house, even if I can’t see it.

  She’s shaking her arm, down near the wrist where there are lingering black veins. She shakes harder and closes her eyes, and they disappear. It strikes me that I’m not just looking at a ghost. I’m looking at a ghost, and at something that was done to that ghost. They are two different things.

  “You have to fight that, don’t you?” I say softly.

  Her eyes are surprised.

  “In the beginning, I couldn’t fight it at all. It wasn’t me. I was insane, trapped inside, and this was just a terror, doing horrible things while I watched, curled up in a corner of our mind.” She cocks her head and hair falls softly down her shoulder. I can’t think of them as the same person. The goddess and this girl. I can picture her peering out of her own eyes like they’re nothing but windows, quiet and afraid in her white dress.

  “Now our skins have grown together,” she goes on. “I am her. I am it.”

  “No,” I say, and the minute I do, I know it’s true. “You wear her like a mask. You can take it off. You did it to spare me.” I stand and walk around the sofa. She looks so fragile, compared to what she was, but she doesn’t back away, and she doesn’t break eye contact. She’s not afraid. She’s sad, and curious, like the girl in the photograph. I wonder what she was when she was alive, if she laughed easily, if she was clever. It’s impossible to think that much of that girl remains now, sixty years and god knows how many murders later.