Angelology(132)

matted with blood. I kissed her cold forehead and knew that I had lost all that mattered most to

me. I fear that her last days were spent in torment. The specter of her final hours is never far

from my mind.

Forgive me for being the bearer of this horrible story. I am tempted to remain silent,

keeping the ghastly details from you. But you are a woman now, and with age we must face the

reality of things. We must fathom even the darkest realms of human existence. We must

grapple with the strength of evil, its persistence in the world, its undying power over

humanity, and our willingness to support it. It is little comfort, I’m sure, to know that you are

not alone in your despair. For me Angela’s death is the darkest of all dark regions. My

nightmares echo with her voice and with the voice of her killer.

Your father could not live in Europe after what happened. His flight to America came swift

and final—he cut off contact with all of his relations and friends, including me, so that he

might raise you in solitude and peace. He gave you a normal childhood, a luxury not many of

us in angelological families have experienced. But there was another reason for his escape.

The Nephilim were not satisfied with the invaluable information I had relinquished so

foolishly. Soon after, they ransacked my apartment in Paris, taking objects of great value to me

and to our cause, including one of your mother’s logs. You see, of the collection of notebooks

I surrendered in Switzerland, there was one that I left behind, believing it safe among my

belongings. It was a curious collection of theoretical work your mother had been compiling

for her third book. It was in its early stages and therefore incomplete, but upon first examining

the notebook I had understood how brilliant, and how dangerous, and how precious it was. In

fact, I believe that it was due to these theories that the Nephilim took Angela.

Once this information had fallen into the hands of the Nephilim, I knew that all my attempts

at keeping its contents secret had failed. I was mortified by the loss of the notebook, but I had

one consolation: I had copied it word for word into a leather journal that should be very

familiar to you—it is the same notebook that was given to me by my mentor, Dr. Seraphina

Valko, and the very same notebook that I gave to you after your mother’s death. Once this

notebook belonged to my teacher. Now it is in your care.

The notebook contained Angela’s theory about the physical effects of music upon molecular

structures. She had begun with simple experiments using lower life forms—plants, insects,

earthworms—and had worked up to larger organisms, including, if her experiment log can be

relied upon, a lock of hair from a Nephilistic child. She had been testing the effects of some

celestial instruments—we had a number of them in our possession and Angela had full access

—using Nephilistic genetic samples such as shredded wing feathers and vials of blood.

Angela discovered that the music of some of these alleged celestial instruments actually had

the power to alter the genetic structure of Nephilim tissue. Moreover, certain harmonic

successions had the power to diminish Nephilistic power, while others appeared to have the

power to increase it.

Angela had discussed the theory at length with your father. He understood her work better

than anyone, and although the details are very complicated and I am ignorant of her precise

scientific methods, your father helped me to understand that Angela had proof of the most

incredible effect of musical vibrations upon cellular structures. Certain combinations of

chords and progressions elicited profound physical results in matter. Piano music resulted in

pigmentation mutation in orchids—the études of Chopin leaving a dapple of pink upon white

petals, Beethoven muddying yellow petals brown. Violin music brought an increase in the

number of segments in an earthworm. The incessant dinging of the triangle caused a number of

houseflies to be born without wings. And so on.

You might imagine my fascination when, some time ago, many years after Angela’s death, I

discovered that a Japanese scientist named Masaru Emoto had created a similar experiment,

using water as the medium upon which musical vibrations were tested. Using advanced

photographic technology, Dr. Emoto was able to capture the drastic change in the molecular

structure of water after it was subjected to certain musical vibrations. He asserted that certain

strains of music created new molecular formations in the water. In essence these experiments

agreed with your mother’s experiments, corroborating that musical vibration works at the

most basic level of organic material to change structural composition.