Falling Idols Read Free Page B

why they no longer see you.
    You could get away with a lot, with this new invisibility.
    You wonder what it all means, and why you were chosen to play the fool’s role in this grand illusion. This whole city a stage, with so few of its players even aware of their own parts.
    That most peculiar woman continues to wave at you from afar, her hideous red grin more lascivious now. Sometimes she seems to laugh. She knows, oh, she knows all right. Your secrets are hers and always have been. Does she find you during your random travels or do you naturally gravitate to wherever she happens to be?
    Does it even matter, when in all likelihood you’re destined for each other?
    The next time you see her she’s waving from the third floor window in a monolithic old apartment building of gray stone. Its gables and cornices look heavy, vast, crumbled by the decades. Its walls stand mottled by years of water, seeping and trickling. It looms over you, set against a blue-gray evening sky threaded with hints of dying rose. The block you’re in is a gauntlet of bare trees. Their leaves underfoot weave a ragged, wet carpet, slick and spicy with decay.
    A few steps closer, a shift of light and perspective — you now notice the gargoyles perched on the building’s corners and nestled above its eaves. Winged, horned, they hunch and squat above you in silent dominance, caught there like corrupted souls, or grotesque children birthed from granite.
    They alone watch your entry to the building.
    You find the stairs, and they beckon you up. One floor, two — what a chill this building holds, a mausoleum in the middle of a world that only looks sane and ordered. Cabs and cable TV would never know how to find this place.
    The third floor.
    Hallways are many, but you follow the most likely one, that will lead you to her. Your footsteps are small clicks in a greater hush made not of silence absolute, but small echoing murmurs heard through the walls. Someone is crying somewhere, and someone else laughing. Elsewhere, children are singing, but it’s no song you’ve ever heard, and not a song for children’s throats.
    The door you decide upon is stout, peeling, as scabrous as your face. Unlocked, naturally, but you knew it would be. Another hand might not find it so, but for yours the knob twists easily.
    It stinks in here, of mildew and unwashed bodies, but nothing you couldn’t get used to. Sometimes you crave a friendly touch so much that you think you’d welcome it from a leper.
    And you thought this place would be emptier than you’re finding it. At least two dozen people are here, along the walls, but there’s no furniture to speak of, and no one sits together, no one talks. Mostly they stare at the baseboards and the floor, some the ceiling, like gray strangers in a doctor’s office. Waiting for their name, their turn, the expected surrender of their bodies.
    In another room you find no one alive, just a jumble of blue limbs, bodies with hands bound behind them, thumbs tied together with wire. You can’t see their faces clearly because all the heads have been covered by plastic bags, then cinched around the necks with rubber bands. Most of them died with their mouths open wide, straining against the plastic, sealed forever.
    One of them looks like Stavros, but you can’t be sure.
    You find her in a room glaringly lit by a naked bulb dangling from the ceiling. A moist, yeasty smell surrounds her, but maybe that’s just imagination, because her skin reminds you so much of dough. A roll of fat bunching about her thick waist, she kneels on the floor before a middle-aged man who lies naked and trembling on a tabletop. Her arm, her right arm … you can’t find it, and for a moment think she must only have one. Then you realize:
    She’s working it up inside the man. He shudders, groaning, as one bony foot pedals ceaselessly in the air, like a tickled dog.
    You watch, a voyeur, until at last she grins at you. Red, so red. A tangle of greasy