The Year's Best Fantasy and Horror. Fifth Annual Collection

“Yes, there’s something,” he replied excitedly, his fingers stroking his cheek

“What, exactly. And these cobwebs ...”

But the lights were going down into darkness. “Quiet now,” he whispered. “It’s about to begin.”

The screen before us was glowing a pale purple in the blackness, although I heard no sounds from the machinery of a movie projector. Neither were there any sounds connected with the images which were beginning to take form on the screen, as if a lens were being focused on a microscopic world. And in some way the movie screen might have been a great glass slide that projected to gigantic proportions a landscape of organism normally hidden from our sight. But as these visions coalesced and clarified, I recognized them as something I had already seen, more accurately sensed, in that theater. The images were appearing on the screen as if a pair of disembodied eyes were moving within venues of profound morbidity and degeneration. Here was the purest essence of those places I had felt were superimposing themselves on the genuinely tangible aspects of the theater, those graveyards, alleys, decayed corridors, and subterranean passages whose spirit had intruded on another locale and altered it. Yet the places now revealed on the movie screen were without an identity I could name: they were the fundament of the sinister and seamy regions which cast their spectral ambience on the reality of the theater but which were themselves merely the shadows, the superficial counterparts of a deeper, more obscure realm. Farther and farther into it we were being taken.

The all-pervasive purple coloration could now be seen as emanating from the labyrinth of a living anatomy: a compound of the reddish, bluish, palest pink structures, all of them morbidly inflamed and lesioned to release a purple light. We were being guided through catacombs of putrid chambers and cloisters, the most secreted ways and waysides of an infernal land. Whatever these spaces may once have been, they were now habitations for ceremonies of a private sabbath. The hollows in their fleshy, gelatinous integuments streamed with something like moss, a fungus in thin strands that were threading themselves into translucent tissue and quivering beneath it like veins. It was the sabbath ground, secret and unconsecrated, but it was also the theater of an insane surgery. The hair-like sutures stitched among the yielding entrails, unseen hands designing unnatural shapes and systems, weaving a nest in which the possession would take place, a web wherein the bits and pieces of the anatomy could be consumed at leisure. There seemed to be no one in sight, yet everything was scrutinized from an intimate perspective, the viewpoint of that invisible surgeon, the weaver and webmaker, the old puppet-master who was setting the helpless creature with new strings and placing him under the control of a new owner. And through her eyes, entranced, we witnessed the work being done.

Then those eyes began to withdraw, and the purple world of the organism receded into purple shadows. When the eyes finally emerged from where they had been, the movie screen was filled with the face and naked chest of a man. His posture was rigid, betraying a state of paralysis, and his eyes were fixed, yet strikingly alive. “She’s showing us,” whispered the man who was sitting nearby me. “She has taken him. He cannot feel who he is any longer, only her presence within him.”

This statement, at first sight of the possessed, seemed to be the case. Certainly such a view of the situation provided a terrific stimulus to my own mood of the evening, urging it toward culmination in a type of degraded rapture, a seizure of panic oblivion. Nonetheless, as I stared at the face of the man on the screen, he became known to me as the one I encountered in the vestibule of the theater. The recognition was difficult, however, because his flesh was now even more obscured by the webs of hair woven through it, thick as a full beard in spots. His eyes were also quite changed and glared out at the audience with a ferocity that suggested he indeed served as the host of great evil. But all the same, there was something in those eyes that belied the fact of a complete transformation—an awareness of the bewitchment and an appeal for deliverance. Within the next few moments, this observation assumed a degree of substance.

For the man on the movie screen regained himself, although briefly and in limited measure. His effort of will was evident in the subtle contortions of his face, and his ultimate accomplishment was modest enough: he managed to open his mouth in order to scream. Of course no sound was projected from the movie screen, which only played a music of images for eyes that would see what should not be seen. Thus, a disorienting effect was created, a sensory dissonance which resulted in my being roused from the mood of the evening, its spell over me echoing to nothingness. Because the scream that resonated in the auditorium had originated in another part of the theater, a place beyond the auditorium’s towering back wall.