She always worried that he was going to get dragged into a big black car for a "date," but with his chestnut hair, green eyes, and choirboy looks, Magnus had learned how to deal with that sort of thing a long time ago. Besides, people looking for rentboys cruised under the West Side Highway or down on the Strip, not up in the Bowery, so he figured his virtue was pretty safe. And it wasn't like Ace needed help to watch Jaycie. Jaycie slept most of the time, anyway.
It'd been late, maybe two or three in the morning. He'd done gone out just to do it, just because he could, because there was nobody around these days telling him to do this, do that, be good, behave. Besides, he'd wanted to be alone. It was pretty noisy back at The Place at night. Most of the kids were up and out, but if they were there, they wanted to party, whether or not they had anything to party with.
And he'd seen her—the woman Elio had talked about.
He'd been all alone on the street—or he'd thought he'd been.
Then all of a sudden she stepped out from between two parked cars, right in front of him.
Tall. Fashion-model tall. And somehow he could see her clearly, even though it was dark and there weren't any lights on the side street. She hadn't been glowing or anything; it was just that somehow she was bright enough to see even in the dark. Pale blue draperies flowing around her, rising and settling, constantly in motion, even though there hadn't been much wind. Black tears flowing down her face out of two black holes where eyes should have been, and he'd been so freaked, because she'd just appeared, out of nowhere, that he'd barely had time to start getting really frightened when she vanished again.
He hadn't stayed to look around. He might have been in New York for only about three weeks, but he wasn't an idiot. He'd beat feet back to The Place, and by the time he'd gotten there, the snapshot image of what he'd seen—kind of like the Blue Fairy on crack—had fully developed in his head: tall, willowy, eyeless, weeping tears of black blood.
He didn't know where she'd come from, or where she'd gone, and he didn't care, just as long as he never saw her again.
And to tell the truth, even now he didn't want to admit, even to himself, how scary she was. In seventeen years of disappointing experiences, Magnus had learned that the best way to handle things he didn't like was silence. If you didn't talk about things you didn't like, you could pretend they hadn't happened, and sooner or later, it was almost like they never had. So he hadn't said anything to anyone about what he'd seen, not even Ace. And he hadn't gone out alone again late at night, either.
But now these kids said one of them had seen her too, and they'd all seemed to know about her.
Right. He had to think about this, right now, real hard, before he scared himself into holing up in the Place and never coming out. Did that really mean what he'd seen had been no-shit real? Or had the whole thing been a goof staged for his benefit?
Magnus considered the idea carefully. No. They hadn't known he was there, so they hadn't been putting it on for his benefit—and how could they possibly have known what he'd seen? Besides, they'd been little kids, half his age—and kids that age weren't that good at acting—not that kind of acting, anyway. The oldest of them couldn't have been more than ten. And he didn't even know them. Okay. They hadn't seen him and even if they'd seen him, they didn't know him. Why should they bother to ring his chimes?
That only left the other explanation. The worse one.
She was something real.
And—if the rest of what those runt losers said was true, too—she was going to find him and kill him, because he'd seen her and she'd seen him.
Bloody Mary.
Magnus shivered, heading for home—or what passed for home these days. Even at its worst, it was still better than the one he'd left.
Even if it was going to kill him.
At least when it did, it would kill him on his own terms.
* * *
The Jacob Riis Shelter in Lower Manhattan occupied what had been—a century before—an upper-middle-class home in what had then been a well-to-do residential district.
Times had changed.
Now, suitably renovated—though too long ago, on the slenderest of shoestrings—the aging brownstone did the best it could with what it had to provide: beds, hot meals, and counseling to an ever-shifting population of the city's poor and homeless. These days, that was a precarious interlocking web of grant money, city stipends, and private donations, less every year, though sometimes there was still a little money for "extras"—the things that shelter director Serafina Macunado knew weren't extras, but necessities, if they were to bring any light and hope into the lives of their youngest clients. Color, creative play, laughter, music.
* * *
Hosea Songmaker shrugged Jeanette's strap higher on his shoulder and smiled down at the circle of children who surrounded him. Some of them—those who had been here longest—smiled shyly back. The others regarded him with expressions ranging from shocked blankness to outright suspicion.
For the last six months, Hosea had been spending four days a week here, providing "music therapy" to the shelter's children, a simple enough task for an Apprentice Bard, and one that required no more credential than his New York City busker's license and a willingness to help. The director insisted on paying him—he made sure that it was a pittance, the minimum he could get away with and still be taken seriously. He enjoyed working with the children, and—since the previous autumn—had found his skills especially needed.
Paul and Toni were handling most of his training as a Guardian, and Hosea had been frankly surprised to find out how little there was: becoming a Guardian seemed to be pretty much a matter of "sink or swim." His lessons with Eric made a lot more sense, to his way of thinking—after all, he'd come East looking for someone to teach him the music magic in the first place. Eric took those responsibilities seriously, and Hosea felt he was making progress there. Well, Eric said he was, and one Bard couldn't lie to another, even if it had been in Eric Banyon's nature to lie to anyone. Which it wasn't, not unless there was a lot of call to lie, or the need to lie, and besides, they were both Bards, and Bards had to be honest with each other.
But this Guardian business was enough to scare a man blue, when it wasn't downright confusing, and Eric couldn't help him there. Haunted subways with phantom trains, were-coyotes in Central Park, stuff in the storm sewers that was a lot stranger than the alligators and giant rats in the urban legends, rogue gargoyles, that cursed opera up at Lincoln Center haunted by the ghost of its composer . . . Hosea'd begun to wonder why anybody would want to live in New York.
He'd barely begun to settle in to his dual duties as Guardian and Bard last autumn when the disaster had hit New York. Two numbers and a slash; say 9/11 and that was all you had to say these days. It had changed everything in ways that no one could have imagined before that morning. From now on, there was Before, and there was After.
It was not only the shock, the pain, and the trauma, the sudden senseless deaths of so many that hurt the soul of the city and the nation; it was the need for everyone to fight their way past the knee-jerk flash of hatred and the lust for revenge to an understanding that what was needed was not just an end to this, here, but an end to anything like this, everywhere, for all time. That was the aftermath. Going on. Living day to day in a world where all the rules seemed to have changed. Living in a world where the illusion of safety—and it had never been more than that, not really—had been brutally ripped away, a kind of innocence destroyed forever. Living in a city where every breath of air for months and months carried the stink of burning in it, having to run air filters for most of a year, having every air conditioner within a mile of Ground Zero break in the first couple of weeks on account of all the crud in the air; and where, for the psychically sensitive, every moment of every day was awash with tears enough to fill an ocean.
But . . .
Each day of After brought a small triumph for the city—the Thanksgiving Day parade, held right on schedule; the Chri
stmas Tree Lighting at Rockefeller Center; the July Fourth fireworks display. Every day of business as usual in the months that followed was a triumph for New York and a defiance of the forces of darkness and destruction.
The healing was slow, but healing there was, and Hosea, working at the shelter with the most damaged of the city's residents, saw it clearly. The spirit of New York was as indomitable as the green of the Spring. Nature went on, no matter how cruel the storms of Winter. Life would go on. Everything was changed, but they would all go on.
But lately, here at the shelter, Hosea was hearing things that disturbed him: small, subtle things, too vague to be even called rumors, from the most unlikely of sources.
The children.
"What shall Ah play?" he asked them, his broad Ozark drawl bringing giggles from all but the most withdrawn. After a moment, one of the boldest children offered a suggestion—it was, as usual, a current hip-hop hit.
As always—it was a practiced routine by now—he only got a few bars into the melody before getting it hopelessly tangled up in something else. This time he chose the Muppets' "Rainbow Connection," slipping back and forth between the two tunes as if they were two warring radio signals. Finally he stopped and grinned at the children.
"What's that you say, Jeanette? You don't like that song?" Hosea asked, cocking his head toward the banjo and strumming its strings lightly.
:I said, these rugrats have no imagination,: Jeanette answered acidly.
Hosea pretended not to hear. Though he talked to his instrument for the children's benefit, only he knew that the spirit that inhabited it could hear him—and answer.
Jeanette Campbell had been an outlaw chemist, creator of the drug T-6/157—known as T-stroke—that had been responsible for hundreds of deaths in the city last spring before she'd been dragged off Underhill to serve the Unseleighe Sidhe Aerune mac Audelaine. Poisoned by her own creation, and faced with the choice between dying and going to Hell or staying in the world to try to make amends somehow for the wrongs she'd done, she'd elected to be bonded to Hosea's banjo until she had made reparations for the damage she had done in life—in effect, haunting it.
"You want me to play something else, Jeanette? Well, Ah guess Ah'll let you pick the song, then." And he segued back into "Rainbow Connection" again, by now with all the children sitting forward, and with some of them clapping enthusiastically.
Before they had come to Jacob Riis, many of his audience had never heard a live performer, unless it was a street-corner, trash-can drummer or a rapper. Hosea fascinated them, and music was a way of bringing even the most withdrawn children out of themselves, encouraging them to talk about their troubles. For the next hour, he played for them—simple songs, weaving a tiny thread of Bardic magic into them, small spells of joy and hope, encouraging the children to sing along, until all but the hardest to reach were participating.
It was little enough that he could do for them. The shelter was not a permanent home—it couldn't be, with so many in need of its services. No one was allowed to stay at Jacob Riis for longer than two weeks now. The shelter was only a waystation, while the overworked staff frantically tried to find permanent accommodations for those who came to them, though that wasn't easy these days. Fortunately there was no limitation on its drop-in services, other than space and money. The shelter fed hundreds every day, for as long as the supplies held out, and was frequently the only place the city's burgeoning homeless population could go to get a shower, clean clothing, and even rudimentary medical attention.
Sometimes "his" children came back for weeks, sometimes even for a month or two, giving Hosea time to learn their names, and start to form friendships with them. But in the end, they always disappeared. Sometimes Serafina could tell him where they'd gone, but more often she'd only shrug wordlessly and turn away.
"Try not to care too much," she'd told him when she'd hired him. "It will only break your heart."
* * *
Music Therapy ended, and the children were herded off to Art Therapy—the grant-approved name for an hour spent with paints and crayons. One little girl hung back. Her name was Angelica. Hosea guessed that she was about four, but she wasn't sure herself.
She'd been here for a month now, in defiance of all the shelter's policies, but there was simply no place to send her. Her mother had begged them to keep her. The woman's name was Erika, Hosea remembered. No one had seen Erika for a week and a half. Next week Serafina was going to have to go to Child Protective Services and get them to take Angelica away. Serafina had done all she could, hoping Erika would come back, hoping they could get her into a program that would let her keep her daughter; hoping that Erika wouldn't simply come back and take her baby back out onto the streets.
Angelica's drawings were . . . disturbing.
Not in the way some of the other children's were, when they drew pictures that were obviously portrayals of violence or abuse at home, depictions of gang shootings, or worse. Angelica's were different. As if she was trying to set down on paper something that she'd seen, but as if that something were so far out of the ordinary that a four-year-old couldn't manage to share it.
"Would you like to hold mah banjo?" Hosea said, still sitting on the floor, running his hand lightly over the strings to make them shiver.
:Don't let her near me, you troglodyte!:
Angelica came shyly forward, reaching out to pluck at one of the silver strings with a chubby baby hand.
"Sometimes she sounds like that," Angelica confided. "When she's the Blue Lady." She ducked her head. "I'm not supposed to tell you," she whispered confidentially. "Cause you're a grownup."
"Ah'm not so growed-up as all that," Hosea said, willing a thin thread of Bardic magic—what he'd always called his shine, before he'd met a real Bard—out to enfold the little girl. He needed to hear more about this, and he suspected he didn't have much time.
He'd started hearing hints of what he thought of as Blue Lady stories a few months ago, but he suspected they'd been going on for a lot longer than that. They were stories the youngest children told each other when they thought the adults couldn't hear, but there wasn't much privacy in a shelter crammed to overflowing. The Stories were things the children shared to give themselves hope in a world where all hope was dead. Slowly, from bits and whispered pieces, Hosea had started piecing the whole larger story together.
"They're a Secret," Angelica told him sternly, kneeling beside him. "They're the Secret Stories."
Hosea—over Jeanette's protests—slipped the strap of the banjo over his head and settled the instrument in Angelica's arms. She cradled it like a doll.
"But you wasn't going to tell me anything secret," he coaxed. "You was jest going to tell me about how the Blue Lady sounds like ol' Jeanette here."
"When she's nice," Angelica agreed. "Because sometimes she still is, almost like if you know her Secret Name. Bloody Mary is bad. It says on television. She makes girls her slaves, or to be in gangs. But sometimes, one in a thousand girls with no home is a Special One. When Bloody Mary comes to take her to Hell, the girl is so smart and brave that Bloody Mary disappears and the Blue Lady comes, and the Special One can protect all the other kids from Bloody Mary. Since I don't have a home anymore, do you think maybe I'm a Special One, Hosea?" Angelica looked wistful. "Like Buffy on television?"
"Ah think yore purty special, Angie," Hosea said softly. "Can you tell me the Secret Name?"
"Nobody knows—" Angelica began.
Just then Serafina came in. "Oh there you are! Run along, Angie—it's time to go draw pictures, okay?"
Sighing in disappointment, Hosea got to his feet and took his banjo back from Angelica. The little girl ran off into the other room.
"I just got off the phone with Child Welfare," Serafina said with a grimace. "They asked if we could keep her one more night. They'll be sending a caseworker down for her in the morning."
Hosea nodded. He'd known it was inevitable, but that didn't mean he had to like it. "What's going
to happen to her?" He knew he shouldn't ask, but he couldn't help himself.
"We always hope for the best," Serafina said, her voice colorless. "She's a sweet kid. If she's placed with a good family. If her mother shows up again and releases her for adoption. If." Serafina shrugged. "Come on. I'll sign your voucher so you can get out of here. Unless you want to hang around and wash dishes?"
* * *
It was cold but clear—last winter had been mild, but this year seemed determined to make up for it—and Hosea decided to walk home. He wanted the exercise, and few people would bother a man his size, even in this neighborhood. Besides, he could use the walk to get Angelica's story—the Secret Stories—clear in his head.
Only the youngest children told them, and only to each other, though Hosea had managed to overhear quite a lot. He'd never heard them from any child older than twelve, and the boys seemed to concentrate on a different aspect of the Stories than the girls did.
All their tales spoke of a grim and frightening world—though no worse, Hosea imagined, than the one they themselves lived in.
In the Stories, God was dead, or gone away somewhere. Once he'd lived in Heaven in a beautiful palace of blue-moon marble, until on Christmas night a horde of demons led by Bloody Mary had come over the wall and smashed his palace to dust. Now Heaven was gone, and God was missing in action.
The reason that adults didn't know this had happened was because TV news had kept it secret, but word had gotten out, brought to the children themselves by their dead relatives. Now Earth itself was the battleground. Here angels fought in God's absence, defending His last Earthly strongholds from demonic attacks. The demons' gateways into the human world were mirrors, abandoned appliances, dumpsters, and SUVs with black windows. The demons' stronghold was a place called "Ghost Town," where the dead lived.
The dead figured more frequently in the childrens' tales than angels—dead relatives who paid them visits to warn of trouble, or to give them information to help them survive on the streets. Since Heaven was gone, the good dead had no place to move on to, but that didn't worry the children. In the Secret Stories, the good dead joined the angels in hidden military camps, fighting the ongoing war against the demon armies. They encouraged the children to study hard, and to be brave and strong and not get sucked into the gangs, so that when they died, they could be good soldiers too, and fight against the gangs who did the demons' work. Every child knew that the gangs belonged to Bloody Mary and worked for the demons.
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