“I am.”
We head down the corridor back to the atrium.
“So what now?” I ask softly as we pass a QUIET PLEASE sign on the end of a line of stacks.
“You’re going to do your job. I’m going to keep looking—”
“Then I’ll keep looking, too. You look here, and I’ll look in the Outer—”
“Mackenzie—”
“Between the two of us we’ll find out who’s—”
The sound of footsteps stops me midsentence as we round a set of stacks and nearly collide with Lisa and Carmen. A third Librarian, the one with the red braid, is walking a few steps behind them, but when we all pull up short, she continues on.
“Back so soon, Miss Bishop?” asks Lisa, but the question lacks Patrick’s scorn.
“Hello, Roland,” says Carmen, and then, warming when she sees me, “Hello, Mackenzie.” Her sun-blond hair is pulled back, and once again I’m struck by how young she looks. I know that age is an illusion here, that she’s older now than she was when she arrived, even if it doesn’t show, but I still don’t get it. I can see why some of the older Librarians choose the safety of this world over the constant danger of Keeper or Crew. But why would she?
“Hello, Carmen,” says Roland, smiling stiffly. “I was just explaining to Miss Bishop”—he accentuates the formality—“how the different sections work.” He reaches out and touches the name card on the nearest shelf. “White stacks, red stacks, black stacks. That sort of thing.”
The placards are color-coded—white cards for ordinary Histories, red for those who’ve woken, black for those who’ve made it to the Outer—but I’ve only ever seen white stacks. The red and black are kept separately, deep within the branch, where the quiet is thick. I’ve known about the color system for a full two years, but I simply nod.
“Stay out of seven, three, five,” says Lisa. As if on cue, there’s a low sound, like far-off thunder, and she cringes. “We’re having a slight technical difficulty.”
Roland frowns but doesn’t question. “I was just leading Miss Bishop back to the desk.”
The two women nod and walk on. Roland and I return to the front desk in silence. Patrick glances back through the doors and sees us coming, and gathers up his things.
“Thank you,” says Roland, “for standing in.”
“I even left your music going.”
“How kind of you,” Roland says, managing a shadow of his usual charm. He takes a seat at the desk as Patrick strides off, a folder tucked under his arm. I head for the Archive door.
“Miss Bishop.”
I look back at Roland. “Yes?”
“Don’t tell anyone,” he says.
I nod.
“And please,” he adds, “be careful.”
I force a smile. “Always.”
I step into the Narrows, shivering despite the warm air. I haven’t hunted since the incident with Hooper and Owen, and I feel stiff, more on edge than usual. It’s not just the hunt that has me coiled, it’s also the new fear of failing the Archive, of being found unfit. And at the same time, the fear of not being able to leave. I wish Roland had never told me.
Abandon all hope, ye who enter here.
My chest tightens, and I force myself to take a long, steadying breath. The Narrows is enough to make me claustrophobic on a good day, and I can’t afford to be distracted like this right now, so I resolve to put it out of my mind and focus on clearing my list and keeping my job. I’m about to bring my hands to the wall when something stops me.
Sounds—the stretched-out, far-off kind—drift through the halls, and I close my eyes, trying to break them down. Too abstract to be words; the tones dissolve into a breeze, a thrum, a…melody?
I stiffen.
Somewhere in the Narrows, someone is humming.
I blink and push off the wall, thinking of the two girls still on my list. But the voice is low and male, and Histories don’t sing. They shout and cry and scream and pound on walls and beg, but they don’t sing.
The sound wafts through the halls; it takes me a moment to figure out which direction it’s coming from. I turn a corner, then another, the notes taking shape until I round a third and see him. A shock of blond hair at the far end of the hall. His back is to me, his hands in his pockets and his neck craned as if he’s looking up at the ceilingless Narrows, in search of stars.
“Owen?”
The song dies off, but he doesn’t turn.
“Owen,” I call again, taking a step toward him.
He glances over his shoulder, startling blue eyes alight in the dark, just as something slams into me, hard. Combat boots and a pink sundress, and short brown hair around huge blackening eyes. The History collides with me, and then she’s off again, sprinting down the hall. I’m up and after her, thankful the pink of her dress is bright and the metal on her shoes is loud, but she runs fast. I finally chance a shortcut and catch her, but she thrashes and fights, apparently convinced I’m some kind of monster, which—as I’m half carrying, half dragging her to the nearest Returns door—maybe I am.
I pull the list from my pocket and watch as Jena Freeth. 14. fades from the page.
The fight has done one thing—scraped the film of fear away, and as I lean, breathing heavy, against the Returns door, I feel like myself again.
I retrace my steps to the spot where I saw Owen, but he’s nowhere to be found.
Shaking my head, I go in search of Melanie Allen. I read the walls and track her down, and send her back, all the while listening for Owen’s song. But it never starts again.
FOURTEEN
LIST CLEARED, I head back to the coffee shop, ready to save Wesley Ayers from the perils of domestic labor. I use the Narrows door in the café closet, and freeze.
Wesley isn’t alone.
I creep to the edge of the closet and chance a look out. He’s engaged in lively conversation with my dad, talking about the perks of a certain Colombian coffee while he mops the floor. The whole place glitters, polished and bright. The rust-red rose, roughly the diameter of a coffee table, gleams in the middle of the marble floor.
Dad is juggling a mug and a paint roller, waving both as he sloshes dark roast and finishes a large color swatch—burnt yellow—on the far wall. His back is to me as he chats, but Wesley catches sight of me and watches as I slide from the closet and along the wall until I’m near the café door.
“Hey, Mac,” he says. “Didn’t hear you come in.”
“There you are,” says Dad, jabbing the air with his roller. He’s standing straighter, and there’s a light in his eyes.
“I told Mr. Bishop I offered to cover while you ran upstairs to get some food.”
“I can’t believe you put Wesley here to work so fast,” says Dad. He sips his coffee, seems surprised to find so little left, and sets it down. “You’ll scare him off.”
“Well,” I say, “he does scare easily.”
Wesley wears a look of mock affront.
“Miss Bishop!” he says, and I have to fight back a smile. His impersonation of Patrick is spot-on. “Actually,” he admits to my father, “it’s true. But no worries, Mr. Bishop, Mac’s going to have to do better than assign chores if she means to scare me off.”