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HAUNTING THE DEAD<br />
RICK CHILLOT<br />
Terrence as everyone else. Terrance watches him approach,<br />
<strong>the</strong>n furrows his brows slightly and, just as <strong>the</strong><br />
policeman passes him, shouts, “Your fly’s open,<br />
mo<strong>the</strong>rfucker.” The policeman stops so suddenly that<br />
his pizza falls out of his hand; he spins around, but sees<br />
no one near him, certainly no one near enough to have<br />
shouted in his ear. Terrence, standing four inches to his<br />
right, laughs and goes back to his work. He pulls an oldstyle<br />
army radio out of his knapsack and opens <strong>the</strong><br />
circuit. A burst of static comes from <strong>the</strong> receiver. He<br />
lifts <strong>the</strong> handset to his mouth. “<strong>Orpheus</strong> is down,<br />
<strong>Orpheus</strong> is down. Any <strong>Orpheus</strong> operatives in <strong>the</strong> area,<br />
you’re in danger. <strong>Orpheus</strong> is down.”<br />
Blue Palace Hotel, Third Floor, East Hallway<br />
September 20, 10:14 a.m.<br />
Ed can see now that <strong>the</strong> corridor isn’t really endless;<br />
that had been an illusion caused by <strong>the</strong> dim lighting<br />
and dull walls. He feels a little calmer now. The hallway<br />
evokes a feeling of familiarity; <strong>the</strong>re’s something about<br />
<strong>the</strong> color of <strong>the</strong> walls, <strong>the</strong> feel of <strong>the</strong> carpet—even <strong>the</strong><br />
smell of <strong>the</strong> place—that makes Ed relax.<br />
“<strong>Orpheus</strong>… down.” The voice comes from behind<br />
him, above him. “<strong>Orpheus</strong>… down,” it says again, a<br />
man’s voice, loud, almost demanding. Ed turns around,<br />
looking for <strong>the</strong> source. He stares at a spot on <strong>the</strong> wall a<br />
few inches below <strong>the</strong> ceiling. Then he sees it, high on<br />
<strong>the</strong> wall next to a light fixture: a speaker, so covered<br />
with thick gray paint that it’s hard to separate from <strong>the</strong><br />
visual monotony of <strong>the</strong> wall.<br />
Ed waits, but <strong>the</strong> voice doesn’t come again. He<br />
reaches for <strong>the</strong> speaker. The wall feels strangely warm.<br />
Ed presses his palm to it, and <strong>the</strong> wall seems to give<br />
imperceptibly, as if it’s pliable. It seems to be moving,<br />
ever so slightly, slowly, pulsing out and <strong>the</strong>n in again.<br />
It feels moist, though he can’t see any moisture on <strong>the</strong><br />
wall or his hand.<br />
“Yes, <strong>the</strong> climate control in this hotel leaves something<br />
to be desired.”<br />
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