Requiem (Delirium #3)

Lena

Coral slows us down. She has no visible injuries, now that she has bathed and had various cuts and scrapes bandaged, but she is obviously weak. She falls behind as soon as we begin to move, and Alex hangs back with her. In the early part of the day, even though I try to ignore it, I can hear the ribbon of their conversation weaving up and through the other voices. Once, I hear Alex burst out laughing.

In the afternoon, we come across a large oak. Its trunk has been gouged and slashed with various lines. I let out a cry of recognition as soon as I see it: a triangle, followed by a number and a rudimentary arrow. It’s Bram’s knife pattern, the specific series of markings he used during relocation from the northern homestead last year to mark our progress and help us find our way back in the spring.

This mark I remember specifically; it indicates the way to a house we came across last year, intact and inhabited by a family of Invalids. Raven must recognize it too.

“Jackpot,” she says, grinning. Then she raises her voice to the group. “This way to a roof!” There are whoops and exclamations. Just a week outside of civilization makes us crave the simplest things: roofs and walls and tubs full of steaming water. Soap.

It’s less than a mile to the house, and when I see the gabled roof, covered in a fur of brown and tangled ivy, my heart leaps. The Wilds—so vast and changeable, so disorienting—also make us lust for the familiar.

I burst out to Julian, “We stopped here last autumn. During the journey south from Portland. I remember that broken window—see how they’ve patched it with wood? And the little stone chimney peeking up over the ivy.”

I notice, though, that the house is more run-down than it was even six short months ago. Its stone facade is darker, coated with a slick surface of black mold that has webbed itself into the caulking. The small clearing around the house, where last year we pitched our tents, is overgrown with high brown grasses and thorned plants.

There is no smoke piping from the chimney. It must be cold inside the house with no fire going. Last autumn the kids ran out to intercept us when we were halfway to the front door. They were always outside, laughing and shouting, teasing one another. Now there is quiet and stillness, except the wind through the ivy, a slow sigh.

I begin to feel uneasy. The others must feel it too. We’ve covered the last mile quickly, moving together as one large group, buoyed by the promise of a real meal, an indoor space, a chance to feel like humans. But now everyone falls silent.

Raven reaches the door first. She hesitates with a fist raised; then she knocks. The sound is hollow and overloud in the stillness. Nothing happens.

“Maybe they’re out gathering,” I say. I’m trying to quell the panic that is building, the spiky sense of fear I used to get whenever I ran past the graveyard in Portland. Better go fast, Hana used to say, or they’ll reach out and grab your ankles.

Raven doesn’t answer. She puts her hand on the knob and turns. The door opens.

She turns to Tack. He unslings his rifle and passes in front of her into the house. Raven seems relieved that he has taken the lead. She removes a knife from the belt she wears on her hips and follows him inside. The rest of us flow in after them.

It smells terrible. A little light penetrates the darkness, spilling in from the open door and piercing the wooden slats that cover the broken window. We can just see the bare outlines of the furniture, much of it smashed or overturned. Someone lets out a cry.

“What happened?” I whisper. Julian finds my hand in the darkness and squeezes. Nobody answers. Tack and Raven move farther into the room, their shoes crunching on broken glass. Tack takes the butt of his rifle and slams it, hard, against the wooden slats in the window; they break apart easily, and more light flows into the room.

No wonder it smells so bad; there is food, rotted, spilling out of an overturned copper pot. When I take a step forward, insects scurry into the corners. I fight down a surge of nausea.

“God,” Julian mutters.