Six and a half days after I ran away from it, I return to Starling House. Look: I didn’t plan on it. I was going to walk the extra half mile to and from work for the rest of my natural life specifically so that I never had to come within a hundred yards of Starling land again. I was going to bum rides from Lacey, or maybe steal a bike. I’m no coward, but Jasper’s made me watch enough horror movies to recognize a red flag when it holds my hand and tells me to run.
But after six nights of wrecked sleep—followed by six and a half days of dodging worried looks from Jasper and taking the long way to work, of mistaking the bathroom mirrors for rows of windows and looking over my shoulder for doorways that don’t exist—I fold. I’m tired, and I’m moderately freaked out, and I’m running out of old sheets to rip up into bandages because the cut on my hand won’t seem to close.
So here I am, using my Monday lunch break to glare at the gates of Starling House.
The gates glare back at me, the beastly shapes nothing but iron by the cold light of day. I run my tongue over my lips, half scared and half something else. “Open sesame. Or whatever.”
Nothing happens, because of course nothing happens, because I’m not in one of my silly childhood stories and there’s no such thing as magic words or haunted houses, and even if there were they wouldn’t have anything to do with someone like me.
I look down at my left hand, fresh-wrapped this morning, then up and down the road, the way a person does when they’re about to do something ridiculous and don’t want to be seen.
A pickup chugs past me. I give it a cheery, nothing-to-see-here wave and catch a pair of averted eyes in the rearview mirror. This town is good at looking away.
The truck disappears around the bend and I unwind the white cotton bandaging—the cut is still exactly as wide and tattered as it was six days before, still oozing watery blood—and press my palm to the front gates. I feel a thrill of recognition, like when you spot a face you know in a crowded room, and the gates swing open.
My heart does a double-thud. “Okay.” I’m not sure if I’m talking to myself or the gates. “Okay. Sure.”
It’s probably just motion sensors or cameras or rigged pulleys or some other totally rational explanation. But it doesn’t feel totally rational. It feels like the beginning of a mystery novel, when you’re screaming at the plucky protagonist to run but sort of hoping she doesn’t, because you want the story to start.
I take a little breath and step through the gates onto Starling land.
The driveway doesn’t look like it’s ever been paved, or even graveled. It’s just a pair of tire ruts dug into red clay, divided by a scraggled line of dead grass. Pools of rainwater gather in the low places, reflecting the winter-white sky like the scattered shards of a broken mirror. Trees crowd close overhead, as if they’re trying to catch glimpses of themselves. Birds’ eyes glitter at me from the woods, black and wet.
In my dreams the drive is dark and twisting, but in reality I turn a single curve and there it is.5
Starling House.
The windows are filmy eyes above rotten sills. Empty nests sag from the eaves. The foundation is cracked and slanted, as if the entire thing is sliding into the open mouth of the earth. The stone walls are covered with the bare, twisting tendons of some creeping vine—honeysuckle, I figure, which is only ever a show tune away from gaining sentience and demanding to be fed. The only sign that anyone lives inside is the slow bleed of woodsmoke from a leaning chimney.
The rational half of my brain recognizes that this place is a wreck and an eyesore that should be condemned by the health department and shoved into the nearest sinkhole; the less rational part of me thinks about every haunted house movie I’ve ever seen, every pulpy book cover with a hot white woman running away from a silhouetted mansion.
An even less rational part of me is curious.
I don’t know why—maybe the shape of it reminds me of an E. Starling illustration, all strange angles and deep shadows, like a poorly kept secret. Maybe I just have a soft spot for the neglected and abandoned.
The front steps are slick with matted black leaves. The door is an imperious arch that might once have been red or brown but is now the nothing-color of afternoon rain. The surface is scarred and stained; it’s only up close that I see there are tiny shapes carved roughly into the wood. Hundreds of them—horseshoes and crooked crosses and open eyes, spirals and circles and malformed hands that run in long rows like hieroglyphs, or lines of code. Some of them I almost recognize from Mom’s tarot decks and astrology charts, but most of them are unfamiliar, like letters from an alphabet I don’t know. There’s a derangement to them, a desperation that tells me I should leave before I wind up ritually beheaded or sacrificed on a stone altar in the basement.
I step closer instead.
I lift my hand and knock three times at the door to Starling House. I give him a couple of minutes—I figure it’ll take a second to finish up his brooding or lurking or whatever it is he does in there—before knocking again. I shuffle through the dead leaves, wondering if he’s gone out for a drive, and then if he even has a license. I try and fail to picture him practicing his parallel parking with Mr. Cole in the passenger seat.
I’m about to knock a third time when the door whips open in a rush of heat, and there he is.
The heir to Starling House is even uglier by daylight: his brows flat and heavy over a twisted nose, his eyes like a pair of mine shafts burrowed into a chalk cliff. The eyes widen.
I wait for him to say something normal, likeHello?orCan I help you?,but he merely stares down at me in mute horror, like a human gargoyle.
I go for a breezy smile. “Morning! Or afternoon, I guess. We met the other night, but I thought I’d come introduce myself properly. My name’s Opal.”
He blinks several times at my outstretched hand. He crosses his arms without shaking it. “I believe,” he grates, “I advised you to run.”
I smile a little harder. “I did.”
“I thought ‘and never come back’ was implied.”
His voice is so dry, so thoroughly harassed, that my smile goes briefly crooked. I iron it straight. “Well, I’m sorry to bother you, but I’m here because”—your goddamn house is haunting me—“because I’m taking an architecture class online, and I was hoping to take some pictures for my project?” I don’t even know if the community college offers online classes in architecture, but I figure it’s a good excuse to go poking around, driving the dream-house out of my head and replacing it with the dull facts of dirty wallpaper and creaking stairs.
“You want to take . . . pictures. For your”—his scowl deepens by several degrees—“architecture class.”
