Coldheart Canyon: A Hollywood Ghost Story

THREE

There were ten thousand things Zeffer had not witnessed, or even glimpsed, in his brief visit to the vast, mysterious chambers in the Fortress's bowels; images haunting the tiles which he would not discern until the heroic labor of removing the masterwork from the walls and shipping it to California was complete.

He was a literate man; better educated than most of his peers in the burgeoning city of Los Angeles, thanks to parents who had filled the house with books, even though there was often precious little food on the table. He knew his classics, and the mythologies from which the great books and plays of the ancients had been derived. In time he would discover dozens of images inspired by those same myths on the tiles. In one place women were depicted like the Maenads immortalized by Euripides; maddened souls in service of the god of ecstasies, Dionysus. They raced through the trees with bloody hands, leaving pieces of male flesh scattered in the grass. In another place, single-breasted Amazons strode, drawing their mighty bows back and letting fly storms of arrows.

There were other images—many, many others—that were not rooted in any recognizable mythology. In one spot, not far from the delta, huge fishes, which had sprouted legs covered with golden scales, came through the trees in solemn shoals, spitting fire. The trees ahead of them were aflame; burning birds rose up from the canopy.

In the swamp, a small town stood on long limbs, its presence appearing to mark the position of some place that had existed there once but had been taken by time, or a prophecy of some settlement to come. The artists had taken liberties with the rendering, foreshortening the scene so that the occupants of the city were almost as big as their houses, and could be plainly seen. There were excesses here, too; perversities just as profound as anything the Wild Wood was hosting. Through one of the windows a man could be seen spread-eagled on a table, around which sat a number of guests, all watching a large worm enter him anally and then erupt from his open mouth. Another was the scene of a strange summoning, in which a host of black birds with human heads rose up from the ground, circling a girl-child who was either their invoker or their victim. In a third house a woman was squatting and shedding menstrual blood through a hole in the floor. Several men, smaller than the woman above by half, were swimming in the water below and undergoing some calamitous transformation, presumably brought on by the menses. Their heads had flowered into dark, monstrous shapes; demonic tails had sprouted from their backsides.

As Father Sandru had warned (or was it boasted?) to Zeffer, there was no part of the landscape depicted there on the walls that was not haunted by some bizarre sight or other. Even the clouds (innocent enough, surely) shat rains of fire in one place, and evacuated skulls in another. Demons cavorted unchallenged over the open sky, like dancers possessed by some celestial music, while stars fell between them; others rose over the horizon, leering like emaciated fools. And in that same sky, as though to suggest that this was a world of perpetual twilight, teetering always on the edge of darkness and extinction, was a sun that was three-quarters eclipsed by an exquisitely rendered moon, the latter painted so cunningly it seemed to have real mass, real roundness, as it slid over the face of the day-star.

In one place there was painted a line of crowned figures—the kings and queens of Romania, back to ancient times—painted marching into the ground. The noble line rotted as it proceeded into the earth, carrion birds alighting on the descending lineage, plucking out regal eyes and law-giving tongues. In another place a circle of witches rose in a spiral from a spot marked by standing-stones; their innocent victims, babies whose fat had been used to make the flying ointment in which they had slathered themselves, lay scattered between the stones like neglected dolls.

And all through this world of monstrous hurts and occasional miracles, the Hunt.

Many of the scenes were simply documents of the vigorous beauty of the chase; they looked as though they could have been painted from life. There was a pack of dogs, white and black and pie-bald (one bitch charmingly attending to her suckling pups); some being muzzled by peasants, others straining on their leashes as they were led away to join the great assembly of hunters. Elsewhere, the dogs could be seen accompanying the hunters. Where the Duke had chosen to kneel and pray, a white dog knelt beside him, his noble head bowed by the weight of shared devotion. In another, the dogs were splashing in a river, attempting to catch the huge salmon outlined in the stylized blue waters. And in a third place, for no apparent reason but the playfulness of the artists, the role of dogs and men had been reversed. A long, beautiful decorated table had been set up in a clearing among the trees, and at it sat a number of finely-bred dogs, while at their booted feet naked men fought over scraps and bones. Closer examination showed the arrangement of figures to be even more anarchic than it first appeared, for there were thirteen dogs at the table, and in their center sat one dog with a halo perched between his pricked ears: a canine Last Supper. An informed observer, knowing the traditional positions of the Apostles, could have named them all. The writers of the Gospels were there in their accustomed seats; John sitting closest to his master, Judas sitting at the perimeter of the company, while Peter (a Saint Bernard) brooded at the other end, his furrowed brow suggesting he already knew he would betray his master three times before the long night was over.

Elsewhere in the landscape, the dogs were painted at far crueler work. Tearing rabbits apart in one place, and ripping the flesh from a cornered stag in another. In a third they were in a contest with a lion, and many had been traumatically injured by the battle. Some crawled away from the place, trailing their bowels; one had been thrown up into the trees, and its corpse hung there, tongue lolling. Others lay sprawled in the grass in pools of blood. The hunters kept their distance, no doubt waiting for the lion to become so weakened by blood-loss that they could close in and claim the heroic moment for themselves.

But the most perverse of all the scenes were those in which erotic love and hunting were conjoined.

There was, for instance, a place where the dogs had driven a number of naked men and women up a gorge, where they had encountered a group of hunters armed with spears and nets. The terrified couples clung to one another, but the netters and the spearers knew their business. Men were separated from women and the men were run through with spears, the women all bundled up in the nets, heaped on carts, and carried away. The sexual servitude that awaited them was of a very particular kind. Reading the walls from left to right the viewer's eye found that in an adjacent valley the women were freed from the nets and strapped beneath the bodies of massive centaurs, their legs stretched around the flanks of the animals.

The women's response to this terrible violation was something the artists had taken some trouble to detail. One was screaming in agony, her head thrown back, as blood ran from the place where she was being divided. Others appeared to be in ecstasy at this forced marriage, pressing their faces joyously to the necks of their deflowerers.

But this part of the story did not finish there. If the "reader," scanning these walls, had continued his inquiry, he would have found that some of the men had survived the massacre in the gorge, and returned, on a later sequence of tiles, to hunt the creatures that had their wives in sexual thrall. These were some of the most brilliantly painted sequences on the walls: the surviving lovers returning on horseback, so as to match their speed to that of the centaurs. Lassos circling in the air over their heads, they closed on the centaurs, who were slowed down by the very women they carried around to pleasure them. Several were brought down by ropes around the neck, others were speared in the throat or flank. The women they carried were not always lucky in these encounters. Though no doubt their rescuers intended to free them, it was often the case that they perished beneath the weight of their violators, as the dying centaurs rolled over, crushing them. Perhaps there was some moral here—some lesson about the vulnerability of the innocent women when two tribes of males were set against one another; but the artists seemed to take too much grisly pleasure in their depictions for this to be the case. Rather, it appeared to be done for the pleasure of the doing; of the imagining, and of the rendering. There was no moral from one end of this world to the other.

It would be possible to go on listing at great length the horrors and the spectacles of the scenes laid out on the tile: the fields of dancing demons, the fairy races, the succubi squatting on roofs, the holy fools draped in coats of cow-dung, the satyrs, the spirits of graveside, roadside and hearthside; the weasel-kings and the bloated toads; and so on, and so on, behind every tree and on every cloud, sliding down every waterfall and lingering beneath every rock: a world haunted by the shapes of lust and animal lust and all that humanity called to its bosom in the long nights of its despair.

Though Hollywood—even in its fledgling years—was presenting itself to the world as the very soul of the imagination, there was nothing going on before the cameras there (nor would there be, ever) that could compete with what the master tile-painters and their apprentices had created.

It was, as Sandru has said, the Devil's Country.

Zeffer went to Brascov to hire men, at prices five or six times what he would have paid locally, because he wanted hands that could do the job with some finesse, and minds that could count to a higher number than their fingers. He devised the means by which the masterpiece could be removed himself. The tiles were meticulously numbered on the reverse sides and a huge legend made of the room by three cartographers he had also hired in the city, so that there would be a meticulous record of the way the design had been laid out; and an obsessive accounting of how the tiles were numbered, stacked and packed away; including a detailed description of which tiles were cracked or damaged before they were packed, which had been mislaid by the original tilers (there were a hundred and sixteen such tiles; most turned ninety or a hundred and eighty degrees by an artisan too tired, too bewildered or perhaps too drunk to realize his error); all so that when the tiles were unpacked at the house in Coldheart Canyon there would be no difficulty reordering them into the original design.

It was a long process; a total of eleven weeks were to pass before the crated tiles were finally transported from the Fortress.

All the work had drawn much attention, of course; from the brothers themselves, who knew what was going on because Father Sandru had told them, and from the villagers, who had only the vaguest of ideas of what all this was about. There were rumors flying around that the removal was being undertaken because the tiles had put the souls of the Fathers in spiritual jeopardy, but precise details of this jeopardy changed from account to account.

The vast sum of money that was now in the possession of the Order did very little to transform the lives of the priests, apart from inspiring some of the most embittered exchanges in the history of the brotherhood. Several of the priests were of the opinion that the tiles should not have been sold (not because of their merit, but because it was not wise to loose such unholy images on the secular world). To this, Father Sandru— who was more often, and more publicly, drunk by the day—offered only a sneering dismissal.

What does it matter? he said to the complainers: they are only tiles, for God's sake.

There were a good number of shaken heads by way of response, and a very eloquent riposte from one of the older Fathers, who said that God had put the tiles into their protection, and it was cynical and careless of him to let them go. What damage might they not do, out there in the world, he said; what hurt to innocent souls?

Sandru was unmoved by all this. There were no innocent souls in Hollywood, he had learned; nor was there any sin or excess painted in the tiles that the people of that city were not intimately familiar with. He spoke with an authority which he didn't in truth possess, but it sufficiently impressed the brothers—or at least a greater number of them—so that the nay-sayers were finally silenced.

There was much debate about what should happen to the money. One faction, led by the older men, believed it had been acquired by dubious means, and the only uncorrupted way to dispose of it was to distribute it among the poor. Surprisingly, very few voices supported this solution; some part of the money might be given to the needy in the village, the priests agreed, but there were other causes that should be attended to. There was some lobbying for a complete removal of the Order to some other place than the Fortress; a more comfortable place, where they could find their way to God without the Devil's shadow falling across their path. It was Sandru who was the most eloquent advocate of their staying in the Fortress. His tongue well lubricated with wine, he explained that he felt no sense of regret that he'd sold the tiles; it was a once-in-a-lifetime opportunity, and he was glad he'd taken it. Now, he said, they should use the money to rejuvenate the place. Get the hospital up and running, as had always been the plan; see what they could do about refertilizing the land, so that the vineyard would prosper as it had in the old days.

"Our path is perfectly clear!" he said to the Brothers. "Whether our faith in the Lord is secure or not, we can heal here, and we can grow the grape, and pass our lives with purpose."

He smiled as he spoke. That word—purpose—had not been on his lips for many years, and it gave him pleasure to speak it. But even as he spoke the smile started to die away, and the color shrank from his ruddy face.

"I beg you to excuse me," he said, putting his hand to his belly, "I am sickened by too much brandy."

With that he pulled out of his robes the bottle from which he had been drinking since early morning, and set it clumsily down on the table in front of him. Then he turned and stumbled out to get a breath of fresh air. Nobody went after him; he had no friends left in the Fortress. His old allies were too embarrassed by his excesses to publicly share his opinions; fearful that his behavior might reflect poorly on them, and keep them from advancement. So he was alone as he wandered giddily through the ruins of the dead vines. It was evening, and now that the summer was past, the air was beginning to get chilly. But the sky overhead was a perfect blue, and there was a new moon, its pallid crescent just clearing the mountains.

Sandru tried to let the sight of the sky and moon calm him; have them placate the pain of his heart, give life back to his numbed fingers. But the trick was beyond them. He realized suddenly that this was not a spasm brought on by too much brandy. He was dying.

The Brothers had medicines for weakness of the heart, he knew; it would not be the end of him if he got back to them quickly enough. He turned on his heel, attempting to voice a shout of alarm. But his panicked chest would provide no breath for him to cry for help. His legs began to fail him, and down he went, face first, into the dirt. He tasted the soil in his mouth, bitter and unappetizing. He spat it out; and with the last of his strength he pushed himself up out of the filth and let gravity roll him over.

He could not move, but it didn't matter. The darkening sky overhead was spectacle enough. He lay there for six or seven shortening gasps, while a star, lonely in its solitude, brightened at his zenith. Then he let life go.

The Brothers did not find him until the middle of the night, by which time a frost had settled on the old vineyard, the first frost of that autumn. It glittered on the bulk of the dead Father; on his bulbous nose and in the knots of his beard. It had even inscribed its filigrees on his unblinking eyes.