The sixty-by-forty-foot block stood like a fortress, forbidding and windowless. Even a medieval castle would have featured arrow loops, narrow openings from which archers could defend against the barbarians, or high clerestory windows to admit natural light. But I sensed that nothing natural was wanted within, that this building had been constructed to celebrate barbarism, that its builders felt no need for arrow loops or gun ports, for they knew that civilization, in its current and foreseeable state, would have no interest in mounting an assault against them.
Three broad and shallow steps led up to the only door, which was at what seemed to be the back of the building, out of sight from the main house. I dared the flashlight and saw a bronze slab, green with time, featuring a pattern of scores of little arrowheads in many lines radiating out from a central hub, on which was a word in raised bronze letters—CONTUMAX.
I had no idea what the word contumax might mean. It sounded like an over-the-counter laxative or a drug to treat cold sores, although it was certainly neither. Whatever the word meant, the pattern of arrowheads suggested militant hostility to something.
Perhaps the door was most often locked, although not on this night of celebration. When it eased inward, I discovered a shadowy vestibule. Opposite this first door, a second stood a quarter open to a more well-lighted chamber.
I did not want to go inside, to risk being trapped in a place that had one exit, but I sensed that what waited to be learned here was something I must know if I were to be of any use to the children. I stepped inside and eased the outer door shut behind me.
After crossing quietly to the inner door, I stood listening, but heard nothing. I held my breath, the better to hear, but the silence remained absolute.
When I inhaled, a peculiar bitter smell, faint but unpleasant, caused me to grimace. It registered as a taste, too, even fainter than the scent. The flavor reminded me of ipecac, the syrup that doctors use to induce vomiting when someone has been poisoned, but in this case disguised—inadequately—by mint.
I pushed open the inner door, crossed the threshold, and was halted by the drama of the space.
Stone-and-timber walls as outside, cobblestone floor, without a piece of furniture, the room must have been forty feet wide and fifty end to end, the raftered ceiling forty feet overhead. Along the wall to the left and along the wall to the right stood seven concrete pedestals, fourteen in all, each perhaps seven feet high. Mounted atop every pedestal, lit from above by pin spots, angled to peer down imperiously, were the bleached-white skulls of what might have been Rocky Mountain bighorn rams, identifiable by their enormous, curved, and deeply grooved horns.
The cobblestones were flat, without rounded edges, with minimal grout lines, set in a circular pattern that swirled around the room, ring after diminishing ring, leading to a large round stone at the center. With growing alarm, I walked to that medallion and read the word carved into it: POTESTAS. Here was another test of my knowledge—and additional proof of my ignorance.
I looked left and right at the totems on the fourteen pedestals. Set on the sides of those narrow heads, twenty-eight eye sockets, though empty, though black and hollow, seemed to watch and menace me. The builders of this house of the profane did not mean for the skulls to be seen simply as what they were, did not intend for them to be thought of as mere rams’ heads, but placed them here as symbols of the great horned serpent who was the prince of this world. Fourteen goatish mouths were fixed open, perhaps to express the insatiable appetite that the prince encouraged and that he promised to feed generously.
I proceeded no farther, but I saw at the front of the room a large slab of what might have been black granite elevated on thick black-granite legs. On the wall directly behind the slab, hanging from two points on a rafter, a long loop of glossy red beads, each as large as a plum, had been threaded through five evenly spaced human skulls that I knew must be as real as those of the bighorn rams.
A miniature version of this macabre construction had hung from the citizens-band radio in the cab of the cowboy’s eighteen-wheeler.
From the first encounter that had led me here and in many other moments of the day, I had been given clear clues to the nature of my adversaries. On some level, I noted all those jigsaw pieces, fitted them together—and then refused to acknowledge the picture that they formed.
Patterns exist in our seemingly patternless lives, and the most common pattern is the circle. Like a dog pursuing its tail, we go around and around all our lives, through the circles of the seasons, repeating our mistakes and pursuing our redemption. From birth to death we explore and seek, and in the end we arrive where we started, the past having made one great slow turn on a carousel to become our future, and if we have learned anything worth learning, the carousel will bring us to the one place we most need to be.