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“Indeed I do, Mr. Weber.” An older woman, with a grim set and clipped tone, steps toward her in a swirl of floor-length navy blue crinoline beneath a tightly cinched white over-apron that reaches to her knees. She would look like a fancy cook if not for the stiff, crisp nurse’s cap tacked to her head like a cardinal’s biretta. A large ring of bright brass keys jingles from a chatelaine at her waist, and the outlines of a small watch are visible, tucked in her blouse’s watch pocket and secured by the delicate links of a brass buttonhole chain, from which hangs a tiny, smoky agate fob. Threaded beneath a high, starched white collar, a strange pendant dangles on a red silk ribbon over the shelf of her breasts: some kind of polished black disk set in brass.

But it is her glasses that grab Emma’s attention. Rimmed in bright brass, the spectacles are not round or oval but D-shaped lenses. Each lens is hinged at the temple to allow for a second to open and shield the sides of either eye. The four lenses are not clear glass either. They are, instead, a storming magenta swirl.

Purple glasses. Emma hears herself hiss a breath. Panops?

“She got a hanger-on?” Weber, the attendant, says. “Anyone else fall out?”

“Thanks heavens, no, not that I see. Come now, Emma. Time to return to your room.” The woman—Mrs. Graves—extends a weathered hand, its knuckles swollen with arthritis and age, but her voice is as starched as her collar. “Let’s not make this more difficult than it need be.”

Nurse’s cap. Locked doors. A hospital? No. Her gaze clicks to the strong dress Weber holds, those bulbous, too-large gloves. Jesus, this is a psych ward, an asylum. But Weber’s accent and Mrs. Graves’s brusque tones …

Wait a second … I’m in England?

Emma’s stunned gaze jerks to those hissing lights of glass globes and brass pipes. Now that she knows how to look, Emma spots inky smudges on the sea-foam wallpaper: soot from brass wall-sconces. Gas lamps. Oh my God. Her chest squeezes with panic. I’m in the past, like something straight out of Dickens.

“How’d she fall out is what I wants to know,” Weber says. “You sure she didn’t lay her hands on one of them marbles?”

Marble. She nearly reaches for the galaxy charm but catches herself. He’s talking about the pendant?

“Yes, I’m sure, Mr. Weber.” Graves’s own jet pendant winks a weird, smoky green in the gaslight. With her spectacles in place, her eyes are bruised sockets. “I fear she’s stronger. If this keeps up, she might not require a cynosure at all to make the leap.”

Cynosure? Emma’s pulse skips. What is that, some kind of tool? Is that what Weber meant by a marble?

“What’d I tell you? Them dark ones is cagey. Why we’re bothering altogether, seeing as how them and their kind bring the plague …” Weber’s face screws with suspicion. “We ain’t never going to understand how to use them tools right, which of them dark ones is safe, so best to do away with the lot, I say.”

“Might we have this discussion later, Mr. Weber?” Graves’s eyes shift back, her mouth thinning to a crack above a sharp chin. “Emma, please, you’re working yourself into a state. Come along. You’re safe with us, dear.”

“N-no,” Emma says, and yes, this is her voice: no accent, nothing different about that at all. “Please, I just want out.”

“Now, now.” Graves moves closer, accompanied by the jingle and chime of brass keys. Her jet pendant gleams. “Let us take care of you, and in turn, you can help us.”

“Help?” The thought that she is insane—that she really must belong here—sparkles through her mind, because she does have a dim understanding of what will happen next. If the nurse gets a hand on her, if the orderlies get close enough, they’ll manhandle her into that sack of a dress, jam her hands into gloves, and truss her up before marching her down to a windowless cell deep underground where only the sickest, noisiest, most violent patients live. Someone will force open her mouth, then pour something thick and rust-red and too sweet down her choking throat. They’ll pinch her nose if she won’t drink; they’ll suffocate her until she does. Swallow that tonic, and a thick, cloying fog will descend over her mind, and she’ll float away on the breath of dreamless sleep. This, she knows—and if that’s so, she must belong here. She’s crazy. What other explanation is there?

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White Space
White Space

In the tradition ofMementoandInceptioncomes a thrilling and scary young adult novel about blurred reality where characters in a story find that a deadly and horrifying world exists in the space between the written lines.Seventeen-year-old Emma Lindsay has problems: a head full of metal, no parents, a crazy artist for a guardian whom a stroke has turned into a vegetable, and all those times when she blinks away, dropping into other lives so ghostly and surreal it's as if the story of her life bleeds into theirs. But one thing Emma has never doubted is that she's real.Then she writes "White Space," a story about these kids stranded in a spooky house during a blizzard.Unfortunately, "White Space" turns out to be a dead ringer for part of an unfinished novel by a long-dead writer. The manuscript, which she's never seen, is a loopyMatrixmeetsInkheartstory in which characters fall out of different books and jump off the page. Thing is, when Emma blinks, she might be doing the same and, before long, she's dropped into the very story she thought she'd written. Trapped in a weird, snow-choked valley, Emma meets other kids with dark secrets and strange abilities: Eric, Casey, Bode, Rima, and a very special little girl, Lizzie. What they discover is that they--and Emma--may be nothing more than characters written into being from an alternative universe for a very specific purpose.Now what they must uncover is why they've been brought to this place--a world between the lines where parallel realities are created and destroyed and nightmares are written--before someone pens their end.

Ильза Джей Бик

Любовное фэнтези, любовно-фантастические романы

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