Supernatural Noir

The body is Rossini’s. He is unstable, rocking from foot to foot. One broad hand clutches the door frame for support; the other slaps at a sheathed knife hooked to his belt. He wears Louis Towne’s face like a mask. The cheeks are shiny, stretched tightly over the thief’s features, with tiny ears jutting from the side of the massive head. The rest of Louis’s skin, a sheet of bloodless flesh the color of bacon fat, hangs from Rossini’s chin like an untied butcher’s apron and swings as the thief rocks from side to side. Bony thorns ring the dangling sheet of skin like teeth. The flesh billows and slaps against the thief’s body, attempting to gain greater purchase, but it seems unable to secure itself to the fabric. Sylvia takes in every detail of the u

Louis’s lips move and a hoarse mumble escapes Rossini’s throat. The attempt is made again. “Put them back,” come the words, though Sylvia can’t be certain who has made the request.

The thief finally frees the knife from its sheath at his belt, and Sylvia waits breathlessly for him to carve through Louis’s flapping skin. Instead, the thief cocks back his arm and hurls the blade at Sylvia.

It strikes her high on the right breast, sending her stumbling back. The air is knocked from her body, and she nearly drops her gun, but the attack brings clarity, supersedes the paralyzing awe. Desperate to keep her footing, Sylvia regains her balance and assumes a firing stance with the gun clamped in her hands, and she squeezes the trigger. A hole punches in the flapping belly of Louis’s skin and passes through to rip its way into Rossini’s gut. She squeezes again and again, every shot hitting home. The thief stumbles back to the corridor wall and slides to the carpet. Sylvia continues firing, and her final bullet pierces Louis Towne’s forehead and that of the man who wears him.

She drops to her knees and sobs. Grasping the hilt of the knife, she pulls it from her chest, and it feels like she’s ripping a bone from her body. She nearly faints from the sight of so much blood following the blade from the wound, and though she manages to remain conscious, her head spins with sickening speed. She collapses to the side and grinds her teeth against the pain, and she closes her eyes and inhales shallowly because she needs oxygen but the jabbing pain cuts off her respiration in midbreath. Sweat slathers her brow, chilling it. Her body shivers from the cold. She thinks if she can just rest for a few minutes, she will conquer the pain and make her escape. People had survived worse. A moment to recover from the shock and then downstairs and out the door and into Rossini’s car. At the emergency room she will make up a story about muggers, and the doctor will tell her she’s lucky to be alive, and she’ll thank him before painkillers carry her into comfortable sleep.

But she is not at the hospital yet, and she doesn’t feel safe. Sylvia fights to open her eyes.

Louis Towne’s skin slides over the carpet toward her. His head is raised like the hood of a cobra and Sylvia sees Mickey Rossini’s bloodstained corpse through the bullet holes and the empty eye sockets of the face.

Sylvia cries out and a burst of adrenaline provides sufficient fuel for her to rise to her knees. The knife is within her reach and she snatches it up, as the mask of Louis’s face bears down on her. Sylvia strikes out. The blade slices into Louis’s cheek, and she guides the weapon down with all of her force, nailing the flesh to the floor, and refusing to allow Louis to escape again, Sylvia crawls forward and kneels on the spongy sheet. She yanks the blade free, sending bolts of agony across her chest, and begins to slash at the rippling tissues. Chunks of skin come free and wriggle about on the floor like worms dropped on an electrified plate, and Sylvia slices and stabs and tears until Louis Towne’s remains amount to nothing more than a confetti of jittering meat.

Sylvia drops the knife and looks around the room, alert for any new threat that might target her, and her gaze lands on the canvas sack, and she considers what Rossini has told her about the mastery of flesh, and then she looks to the trembling tissue about her for confirmation. She crawls to the bag and empties its contents. In desperation she gathers up the ugly iron icons and holds them tightly in her hands, clutches them to her breast. She lies down on the carpet and lets her eyes close, and falls unconscious. She dies twenty minutes later.

——

I met Sylvia Newman some hours after her death. Louis had told me about the woman—went on in some detail about their affair—but to the best of my knowledge, I’d never set eyes on her before.

Needled by a

Even partially clad in a black jacket and slacks, it seemed too small, too delicate to have been the remains of an adult. Eyes whiter than paper lay nestled in a field of deep red. Here and there, ridges of white bone showed through the crimson tissue of muscle and ligament. My stomach clenched, wondering who could perform such an atrocity on another human being and wondering what a victim might do to deserve such a desecration.

While I was absorbed by the grotesquerie, what I thought was a hood dropped over my head, startling me back, but my reflexes were no match for Sylvia. She must have been waiting on the ceiling, descending upon me as I stood rapt by the repulsive scene. Her face stretched over mine, and the thorny teeth ringing her skin bit into the back of my head like fingernails working their way into an orange rind. As the skin pulled across my brow and chin and those thorns tore their way in, her memories began flooding me, drowning my own thoughts with scenes from this woman’s life:

Sylvia Newman strolls along the boulevard.

Sylvia believes her lover is joking, except that he isn’t.

Sylvia is dead but alive in her skin, which she feels ripping like fabric, peeling in a single sheet from her muscles and bones.

A thousand such scenes play simultaneously in my mind. Amid this torrent of information I was lost: I was Sylvia.

Overwhelmed, I ceased what little struggles I’d engaged in and resigned myself to this mental infestation, viewing the torments and triumphs and carnal excesses that had molded Sylvia Newman. The skin of her neck stretched tightly around my throat, restricting my breath, and the tiny bones punctured the nape of my neck and scraped across my spine, and more information flooded in, so dense it cascaded through my head like photographs printed on raindrops.

When this downpour ceased, I remained standing in Louis Towne’s study. My clothes had been removed and Sylvia busied herself, stretching and wrapping and securing her flesh over mine. Her skin buckled my knees, and we stumbled forward and I grasped the drape for support, but fell nonetheless. The curtain rod snapped under my weight, bringing the window treatment down in a wave. We scurried back on my hands and knees, and then, with great effort, we regained our footing and stood, only to be startled by the sight greeting us.

With night as a backdrop, the window had become a perfect mirror. Sylvia’s face, still thick with makeup, had fused to mine; her full red lips formed a grotesque O around my own mouth. Her breasts sagged emptily against the skin of her stomach, which shined from such tension it looked as though it might rip at any moment, and the tip of my penis showed through the labial lips between her legs. It was this last that so enthralled me. Sylvia must have sensed my fascination because the skin there began to ripple and pull, caressing the head of my cock until it began to grow, and soon a library of erotic images—Towne fucking her and Rossini fucking her and Tocci and a dozen others—crowded my awestruck mind.