Part 2: You Best Start Believing in Ghost Stories, Miss Belltower
Senex's last words still haunt her.
"You see," he had said, "the war, the true war is not one of soldiers, of guns and blades and armies. They are but distractions, toys and props which we play with, while we fight the real battle."
"What's the true war?" she had asked.
"You've fought it for forty years and you haven't realised?" he had said. The line went dead.
She's still in shock.
There's no way she's old! How can she be fifty? Sixty? How old does she have to be to have fought 'this war' for forty years? She doesn't look that age. Nowhere near it. She's not unaging on top of everything else, is she? Does she have to… to cut the heads off her rivals to avoid withering and dying?
Wait. That was a film. She's pretty sure of it. She thinks she watched it. Or possibly kicked down the door to a room of people who were watching it. That's also distinctly possible.
The eastern horizon is getting slightly lighter. All it does is contrast the iron grey sky and the slashing rain. It has been slow going through remote rural roads. She's had to dodge any major road and work from a map she found tucked into the side of the door. She's had her phone turned off since then, in case someone tried to track her.
She strongly suspects Senex could contact her even if her phone was off. Call it a hunch. Or paranoia.
She slows at a crossroads, and checks the signpost. To the right is 'Shalebridge – 2 miles'. The safehouse is meant to be close to that village. Well, it's not really a village. It's more of a hamlet. If that. And she's found on the drive that there's a bit of her which feels very uncomfortable using miles. She must have spent a lot of time abroad, she considers. Miles feel like a… stupid system of measurement.
He had told her to listen to the radio, that it would be her clue, and that the station didn't matter. It's some early morning call-in show, hosted by some posh British guy who in Jamelia's possibly-professional opinion sounds like he's trying too hard to sound attractive in a bumbling clumsy way, and with a call-in audience which seems to be largely composed of lonely women working night shifts.
"Look, what happened to Moscow could happen here! Nuclear terrorism is a real danger! I'm planning to move well away from London, because everyone knows the terrorists would attack there! Somewhere in the country. And what about those Chechens? You can't trust anyone like that! The immigrants down your street could secretly be Chechens, especially if they're from Eastern Europe. That's why we need to bring back the death penalty and…"
"Oh… gosh, and… well, let's just move on from that," the host says, "and gosh, I know I've got a lot of pretty young women in my audience who probably shouldn't have had to hear that, so I'm very, very sorry. This is Dave and you're listening to Dave Break. Who's on line two?"
"Hi Dave! Dave! Dave! I know the truth. You have to listen to me."
"Ah, Sasi." Jamelia thinks she can detect a note of weariness in his voice. "What discovery do you have for us?"
"It's so obvious. I can't believe no one else has realised it. I just suppose it shows the innate stupidity of most people. Urgh. So annoying. It wasn't always quite so clear for me, but now? Now I can see everything. So, anyway. The thing you have to understand is that it's related to the moon landings."
The host chuckles. "I suppose you're going to say they didn't exist?"
"Oh, no, don't be stupid," the caller says contemptuously. "Of course they happened. But the thing is, they were going on a long long time before the secret group which ran both the US and the USSR in the Cold War let anyone else know about it. They had to remove all the alien artefacts first. Some theories say that they're not alien artefacts, but they were originally made by angels. I like to keep an open mind about that, because I don't think there's enough evidence to say either way. But it went wrong! Can't you see that?"
"Mmm hmm."
"They missed one! So when normal humans stepped foot on the moon, it unleashed a plague of soul-eating aliens – or possibly angels – dating back to before humans evolved! Those entities were released and flocked down to earth and started eating souls and wearing their victims as puppets."
"Well, that sounds dreadful," the hosts says firmly. Jamelia can hear that he's humouring the woman. "Something should be done."
"Something can be done," the woman says firmly. "You see, we just have to find the hidden guardians who live among us, and…"
"I'm sorry, but I'm going to have to cut you off, because I have a new caller on line three. Hi, this is Dave and this is Dave Break. What's your name and what are you calling about?"
"Um, hello Dave. Um, yes, I'm calling about the changes to the education and health systems the Conservatives are doing. They're just deplorable. I don't know why they wants private companies to come in and run these academies and hospitals. They've been doing it ever since they got in power and it's really hurting morale. How on earth did they persuade the LibDems to go along with-"
The radio cuts out in a sudden wave of static, as suddenly as someone had flipped a switch. Jamelia flicks through the stations. Every single one. Static.
And there's the turn, just as Senex said it would be. It's a gravel track, barely above a dirt path, leading away from this minor road and winding around a hillside. There's grass growing among the gravel, to the extent that she can badly see it under the care headlights. Jamelia considers leaving her car entirely and walking, but it's raining heavily and she needs to get her vehicle away from the road. She'll need to find cover to park it under.
The gravel crunches under her tires, and the rain bounces off her metal roof. She's looking nervously around, hoping that no one has followed her here and that there's not trap waiting for her. And yes, she's a bit nervous that there might not actually be a safehouse.
But when she turns around the corner of the hill, there is a house built up on the hillside. It's more of a mansion, really, built in the late Baroque style. There's even a cupola. It looks like a little bit of early eighteenth century Italy dumped into the English countryside for no good reason. And then Jamelia sees that she was wrong. No, it isn't a mansion.
It
was a mansion. Now it's a ruin. It sits amongst a copse which was probably once an ornamental garden, and there's a full-blown tree growing out of the cracked-open cupola. It looks like fire. But fire a long time ago, enough that nature has almost reclaimed the structure entirely.
No small amount of cursing is directed at Senex as she draws closer. He's sent her to a burned out shell. Then again, maybe that's just the cover. An old decaying building in the middle of the countryside which is legitimately unsafe to go in the middle of a strange radio blackout area into is probably a fairly good disguised place.
No. She doesn't think that, somehow. If she was picking a safehouse, she'd choose an utterly generic building on the outskirts of a city. Somewhere like this is… is too showy. She'd prefer to hide out in one of the small villages she'd passed on her drive here than this place. Somehow she damn well knows this is the first place she'd look.
The rain is, if anything, getting heavier. She's going to get drenched, even with her umbrella.
She parks her car under cover. Rummaging through the back, she finds a laptop bag with a laptop in it. Well, she doesn't need the laptop right now, but the bag could be useful. She fills it with the things she picked up in the Tesco Metro – the scissors, the hairpins, and the like – and then pads it out with food. If this place is safe, she can come back to collect the rest, but she wants to be ready with superficially innocuous tools.
She smiles prettily, and throws the bowl of sweet-and-sour dip in his face. He's blind and she grabs him, pulling him over the table as a human shield. His bodyguard has her gun out, but Jamelia has her hand on his holster, and with a twist she fires it twice into the other woman's gut. And then she's throwing herself out the window and…
Yes, thank you very much, memory, Jamelia thinks to herself. Yes, she can make use of improvised tools very well. And she has an umbrella.
The gardens smell strange. Yes, everything smells of rain and wetness and countryside, but there's something else. A sickly sweet odour, like… like perfume. Her nostrils flare. Yes, a perfume, but a perfume which is trying to cover something up. She follows the smell, distracted for a moment, and finds a rose garden in full bloom, growing malformed stunted grey-white flowers. The rain dances down on her umbrella as she stares.
Bending down, she examines a rose, a strange grey blossom growing out of season.
A rose. Something about that is familiar. She can't remember what. She brushes it with her fingers, and finds that the grey colouration comes from a thin layer of soot over the white.
Shaking her head, she continues, nerves screaming at her from a thousand subtle wrongnesses. There's nothing moving in the undergrowth. She can't hear any animals. It's just her, and the patter of the rain.
The front door is still intact, but there's nail holes over it, and a pattern of darker and brighter areas. Jamelia is willing to bet that there were boards nailed on it, before they were pried off. Yes, there's the damage from a claw hammer. Knock at the door? Jamelia snorts. Yeah, that's what anyone waiting for her in here would expect her to do. She doesn't trust Senex one bit. Even if he knows more about her than she does. Especially since he knows more about her than she does herself.
So rather than knock at the door, which is an obvious place for an ambush, or get in through the broken second story window she can see which is clearly bait, she edges around the building until she can see an area of the building where façade has fallen off entirely, exposing the underlying stone, and the roof has slumped. She'll be able to get in there, and most people wouldn't have a chance of scaling the wall there in the middle of a rainstorm. Of course, they might be expecting her to go through there, but she'll be expecting them to expect her and there's a limit to how many defences they can conceal there while still leaving it looking suitably degraded.
She keeps an eye on the building as she paces around it, keeping in the cover of the overgrown garden. But, no, there's no power in the building, no hum of a generator or anything like that, and nothing alive watching her from inside. Not even birds or bats.
Jamelia takes a deep breath. She folds her umbrella up, and tosses it up into the third storey area of slump. The bag joins it shortly afterwards. Working her hands, she paces back and forth, judging the best way up. If she can get her fingers onto that ledge there, she can walk her way up the drainpipe, and from there she can get onto that trellis – if it can support her weight. No, wait, there's that rough patch of brickwork she can use to climb there and…
It doesn't go quite as planned.
Rather than a carefully planned climb, she almost flows up the wall, in direct opposition to the water coursing down it. She leaps up onto the ledge, and somehow her trainered feet manage to find purchase in smooth brick, with each step pushing her further and further up. One push off the rusting drainpipe pushes her up an entire storey, and then she's comfortably crouched on a ledge three-fingers wide, and swinging through the broken window into the remnants of what was once a bedroom. Now it's a rotting shell, thick with moss, with the rusted framework of a cast iron bed half-slumped on the ground.
Jamelia pauses, testing the creaking, squawking ground, finding a safe place to stand. How did she know she could do that? Climb three stories easily in the rain? Jumping most of the way? No, she doesn't think she
could do that.
"This young man is a prodigy! He was born to the sky! You are truly gifted by God!"
"Thank you, master."
She thinks Cemal could do it.
Shaking her head, she pushes those fancies from her mind. This isn't a safe place. She's high up in a rotting burned out shell of a building which probably burned down in… she narrows her eyes at the sight of the bed. Something like that was made a hundred years ago, she somehow knows, and the building burned down eighty years ago.
She pulls off her hoody, and wrings it out. It's still damp when she puts it back on, but she doesn't want to get hypothermia on top of all her other problems.
Stooping, she picks up the laptop bag full of food and her umbrella. She recovers the torch she brought and turns it on, the small spotlight dancing over the walls and showing decaying plaster. Testing the floorboards ahead of her with the umbrella, she makes her way to the closed door, keeping well away from the rotten hole in the floor. The dank wood complains and protests under her weight. She's not sure it could have held an adult man. The scent of rot and wet wood fills her nostrils, and there's something else under it.
Smoke. Coppery blood. The pork smell of burned human flesh.
Jamelia shivers. She knows those smells very well.
And she knows those smells are far, far too fresh for a building which burned down eighty years ago.
She touches the back of her hand to the closed door. It feels… warm. No, it feels blistering hot. But only for a fraction of a second. Her hand isn't burned when she checks it, and the door only feels cold and wet now.
Jamelia eases open the door, and narrowly avoids a two storey tumble. The floor beyond the door is missing. The wood has rotted away entirely, even if the stone walls still stand strong – albeit blackened. There's a door opposite to her, and she can see all the way down to what might have once been a dining room or a portrait gallery, through the lack of a floor.
She considers the area. This looks like servant quarters, she thinks, from the small rooms and the cheap cast iron beds. A house this expensive wouldn't keep the master or mistress in somewhere like this. And she can see the floor down in the gallery is stone in the spotlight from her torch. Much more solid than this wooden floor under her which she doesn't trust one bit.
Jamelia glances down, her brain judging leaps and drops for her. She can drop onto that joist, leap onto the opposing wall, slide down, and then land and roll. She'll be fine.
The floor creaks under her again. Finer than she'd be if she stays here.
She makes a leap of faith.
…
Jamelia looks around this dark space, her torch dancing over the walls. Great suits of armour loom out at her. Anarchonistic suits of armour, with tarnished clockwork gears and pulleys lining them, and two hulking silver figures with what can only be boilers on their backs. There are portraits on the walls, too, and though the neglect and humidity have reaped their toll, she can pick out occasional faces. Some of them were under glass, and she'd swear they're as new as the day they were painted.
Of course, in some, the glass is shattered.
Because what she couldn't see from the high-up room were the bodies. Skeletons lie on the floor, wrapped in the tattered remnants of whatever they were wearing when they died. Smashed bones and severed limbs litter the place; there must be twenty, maybe thirty dead men in here, and more animals. Things which she thought were men at first, but on closer examination are revealed to be unmistakably apish, though too… too upright for an ape. And some of them were wearing clothing and carrying tools.
They were killing each other. That's all she can conclude. From the way the bodies lie, the black and grey uniformed men were with the apes. The other ones? They're far more disparate.
A cold chill runs down Jamelia's spine. This isn't a safe house, is it? It's a charnel house. What happened here?
She would leave. She would run. She would flee. Except for one thing. The crest on the peeling shield hung up at one end of the gallery. The motif, the icon; it's all familiar. And the words.
ipsa scientia potestas est
That's what her phone said. That's the first thing she read when she woke up.
She would escape from this place of men and women and near-men, dead eighty years. But she doesn't.