Weirder Shadows Over Innsmouth

INTO THE WATER

by SIMON KURT UNSWORTH

KAPENDA WATCHED THE water, and the water ate the Earth.

“Isaac, the High Street’s finally going under, we need to go and catch it,” said Needham from somewhere behind him. Kapenda raised his free hand in acknowledgement but didn’t move. Instead, he let his eye rise, up from the new channel of brown and churning floodwater to the bank above. The house’s foundations were exposed by the water so that it now teetered precariously on the edge of a gorge. Fall, thought Kapenda, fall, please. The house didn’t fall but it would, soon, and he hoped to be here when it did.

“Isaac!” Needham again. The talent was already at the high street, waiting. The talent was like a child, got fractious and bored if it wasn’t the centre of attention; Don’t keep the talent waiting, was the motto. Don’t annoy the talent was the rule. Sighing, Kapenda finally lowered the camera and turned to go.

It had rained for months, on and off. Summer had been a washout, the skies permanently thick with cloud, the sun an infrequent visitor. On the rare occasions the clouds broke and the sun struggled through, grounds steamed but didn’t dry out. The water table saturated upwards, the ground remaining sodden until the first of the winter storms came and the rivers rose and the banks broke and the water was suddenly everywhere.

They were less than a mile from the town, but the journey still took several minutes. The roads were swollen with run-off, thick limbs of water flowing down the gutters and pushing up from the drains, washing across the camber and constantly tugging at the vehicle. Kapenda wasn’t driving but he felt it, the way they pulled across the centre line and then back as Needham compensated. It had been like this for days now all across the south of England. Kapenda leaned against the window, peering at the rain and submerged land beyond the glass.

There were figures in the field.

Even at their reduced speed, they passed the little tableau too quickly for Kapenda to see what the figures were doing, and he had to crane back around to try and keep them in view. There were four of them, and they appeared to be crouching so that only their shoulders and heads emerged from the flooded pasture. One was holding its arms to the sky. There was something off about the shape of the figures—the arms held to the clouds were too long, the heads too bulbous. Were they moving? Still? Perhaps they were one of those odd art installations you sometimes came across, like Gormley’s standing figures on Crosby beach. Kapenda had filmed a segment on them not long after they had been put in place, and watching as the tide receded to reveal a series of bronze, motionless watching figures had been quite wonderful and slightly unnerving. Had they done something similar here?

The rain thickened, and the figures were lost to its grey embrace.

The talent, a weasel of a man called Plumb whose only discernible value was a smoothly good-looking face and a reassuring yet stentorian voice, was angry with Needham and Kapenda. As Kapenda framed him in shot so that the new river flowing down Grovehill’s main street and the sandbagged shops behind it could be seen over Plumb’s shoulder, Plumb was moaning.

“We’ve missed all the dramatic stuff,” he said.

“We’ve not,” said Needham. “Just trust in Isaac, he’ll make you look good.

“It’s not about me looking good,” said Plumb, bristling, brushing the cowlick of hair that was drooping over his forehead. “It’s about the story.”

“Of course it is,” said Needham. “Now, have you got your script?”

They didn’t get the lead item on the news, but they did get the second-string item, a cut to Plumb after the main story so that he could intone his description of Grovehill’s failed flood defences. Kapenda had used the natural light to make Plumb seem larger and the water behind darker, more ominous. He was happy with the effect, especially the last tracking shot away from the talent to look up the street, lost under a caul of fast-moving flood whose surface rippled and glittered. The water looked alive, depthless and hungry, something inexorable and unknowable.

Now that, thought Kapenda, is how to tell a story, and only spotted the shape moving through the water when he was reviewing the footage a couple of hours after it had gone out. It was a dark blur just below the waves, moving against the current and it vanished after perhaps half a minute. Something tumbling through the flow, Kapenda thought, and wished it had broken the surface—it would have made a nice image to finish the film on.

* * *

Plumb had found an audience.

They were in the bar of the pub where they were staying: the tiny, cramped rooms the only place available. The flood had done the hospitality industry a world of good, Kapenda thought; every room in the area was taken with television and print reporters.

“Of course, it’s all global warming’s fault,” Plumb said.

“Is it?” said the man he was talking to. The man’s voice was deep and rich, accented in a way Kapenda always thought of as old-fashioned. It was the voice of the BBC in the 1950s, of the Pathé newsreels. He punctuated everything he said with little coughs, as though he had something caught in his throat.

“Of course,” said Plumb, drawing on all the knowledge he had gained from reading one-and two-minute sound-bite pieces for local and, more latterly, national news. “The world’s heating up, so it rains more. It’s obvious.”

“It’s as simple as that,” said the man, and caught Kapenda’s eye over Plumb’s shoulder. One of his eyes was milky and blind, Kapenda saw, and then the man, disconcertingly, winked his dead eye and smiled.

“He really is an insufferable fool, isn’t he?” the man said later to Kapenda, nodding at Plumb, who was now holding court in the middle of a group of other talents. What’s the collective noun for the talent? thought Kapenda. A show-off? A blandness? A stupidity? He moved a forefinger through a puddle of spilled beer on the table, swirling it out to make a circle. The man, whose name was David, dipped his own fingers in the puddle and made an intricate pattern on the wood with the liquid before wiping it away.

“He thinks he understands it,” said David, and gave one of his little coughs. “But he doesn’t.”

“What is there to understand?” asked Needham. “It’s rain. It comes down, it floods, we film it and he talks about it and tries to look dramatic and knowledgeable whilst wearing an anorak that the viewers can see and wellingtons that they can’t.”

“This,” said David, waving a hand at the windows and the rain beyond. He was drunk; Needham was drunker. “It’s not so simple as he wants to believe. There are forces at work more complex than mere global warming.” He coughed again, a polite rumble.

“Pollution?” said Needham. Kapenda thought of his camera, of the eye he held to his shoulder to see the world, about how he’d frame this discussion. One at each edge of the screen, he decided, in tight close-up, David’s opaque eye peering into the lens as Needham’s head bobbed back and forth, up and down, like a bird. Needham was a good producer and director because he stressed over the little details, but a bad drinking companion because he got like a terrier over tiny fragments of information.

“Pollution? Possibly, but no answer about the Earth is that simple. Why is the water rising so fast? So far? Mere geography, or something more? My point is that we look to the wrong places for answers, because the real answers have faces too terrible to contemplate,” said David and then stood. He was tall and solid, not fat exactly but well built, his waistcoat straining under the pressure from his ample belly.

“You’re looking in the wrong place, all of you.” And with that, nodding his thanks for the company, David turned and walked away. Kapenda grinned at the look of confusion on Needham’s face, saw that Plumb was heading back their way and quickly rose himself.

“I need a walk,” he said.

“A swim, surely?” said Needham, and he and Plumb laughed. Kapenda did not reply.

The pub was on a hill—it was why it remained mostly unaffected by the storms and the rising floodwater. The rain was coming in near-horizontal sweeps now, gusting along in cold breaths that made Kapenda shiver. Lightning crackled somewhere over the fields, followed by thunder that reminded him of David’s voice and cough. The forecasters were saying that this storm would burn itself out in the next day or so, but they’d said that before and been wrong. The previous week, the rains had continued through the period they’d confidently predicted would be dry, and the groundwater rose and rose. What had he come outside for? Not air, not even to be away from Needham and Plumb, not really.

Kapenda went down towards the lights that were strung out along Grovehill’s main street. Generators, housed in the nearby community hall, powered the lamps and rope barriers prevented him from getting to the water. Even at this time of night, news crews were clustered along the ropes, each filming or preparing for filming. He tried to look at the scene as though he was holding his camera—was there something here not about the floods but about the press response to it? No, that had been done.

There had to be something new, some fresh angle. As the rain pattered down around him, Kapenda thought. What was the weirdest thing he’d seen since this all started? He’d been in the tiny town of Chew Stoke a few weeks earlier, filming the remains of a vehicle that had been washed into a culvert and whose driver had died. In Grovehill, no one had died yet but there were abandoned cars strewn along the streets and surrounding tracks, hulking shapes that the water broke around and flowed over in fractured, churning flurries.

That was old. Every television station had those shots. He’d been there the year before when the police had excavated a mud-filled railway tunnel and uncovered the remains of two people who had been crushed in a landslide. What they needed was something like that here, something that showed how weak man’s civilised veneer was when set against nature’s uncaring ferocity. He needed something that contrasted human frailty and natural strength, something that Dalí might have painted—a boat on a roof, or a shark swimming up the main street. He needed that bloody house to collapse.

What about the figures in the field?

Actually, the fields were a good starting point. They had flooded heavily and most were under at least four or five feet of water, but due to some quirk of meteorology or geography the water on them was sitting calm. Somewhere, he thought, somewhere there’s an image in that smooth expanse that I can use.

* * *

Kapenda waited until morning, and such light as came with sunrise, before investigating. He left a note for Needham, who likely wouldn’t be up until mid-morning anyway, and drove back along the roads towards the field. Through the windscreen, the road ahead of him moved like a snake, constantly surging and writhing.

The dark shape was in the first field he came to, drifting slowly along, spinning. Kapenda saw it through the tangle of hedgerow and stopped, climbing out into knee-high water and lifting his camera to his shoulder. He couldn’t see well, was too low, so climbed onto the vehicle’s door-sill and then higher, onto its roof. Was this the field where he had seen the figures? He thought it was, although there was no sign of them now. From his raised vantage-point, he saw what the shape was, and started filming.

It was a dead cow. It was already bloating, its belly swelling from the gases trapped within, and its eye peered at him with baleful solemnity. Its tongue trailed from its open mouth, leached to a pale grey by the water. Its tail drifted after it like an eel. There was another beyond it, he saw, and more beyond that. A herd, or flock, or whatever a group of cows was called, trapped by the water and drowned.

Drowned? Well, probably, but one of the further animals looked odd. Kapenda zoomed in, focusing as he did so. The dead creature’s side was a ragged mess, with strips of peeled flesh and hide along its flank exposing the muscles below. Here and there, flashes of white bone were visible. Its neck was similarly torn, the vertebrae visible through the damaged flesh. As he filmed, the creature spun more violently as a current caught it, slamming it into a tree-trunk; the collision left scraps of meat clinging to the bark. Kapenda carried on filming as the cow whirled away, watching as it caught on something under the water, jerked and then suddenly submerged, bobbing back up before vanishing again. A great bubble of air, so noxious Kapenda could smell it from his distant perch, emerged from where the cow had gone down.

It was as Kapenda climbed down from the roof that he saw the thing in the hedgerow.

It was jammed, glinting, into the tangle of branches and leaves about four feet from the ground. From the surface of the water, he amended. Leaving his camera in the jeep, he moved cautiously towards the glint, feeling ahead with his feet. The ground dropped away as he stepped off the solid surface of the road, the water rising against him. It came to his thighs and then his waist; he took his wallet and phone from his jeans and zipped them into his jacket’s inner pocket; they were already in plastic bank bags, sealed against the damp. Carefully, not wanting to slip, lose his footing and be washed away like the cows, he leaned into the hedgerow and pushed his arm into it. The thing was tantalisingly out of reach. He pushed in harder, felt his feet shift along the submerged earth and then he was over, falling into the water and going under.

It was cold, clenching his head in its taut embrace and squeezing. Kapenda kicked but his feet tangled into something—branches or roots—and were held fast. Something large and dark, darker than the water around him, banged into him, began to roll over him and force him further under the water. He wanted to breathe, knew if he opened his mouth he’d take in water and drown, and clenched his jaw. The thing on him was heavy, clamped onto his shoulder and was it biting him, Jesus yes, it was biting him and pushing him down and he was trapped, was under it and couldn’t shift it and then something grasped his other shoulder, hard, and he was pulled up from the water.

“No! No! Let him be!” It was David, hauling Kapenda from the water, pulling him back to the jeep. “What were you doing in the water? You could have bloody drowned!”

Kapenda collapsed to his knees, back into the water but held up by the jeep, and vomited. His breakfast came out in a soup of dirty liquid, the sight of it making him wretch even more.

“Are you okay? Do you need to go to the doctor? The hospital?” David was calmer now, more concerned than angry.

“No,” said Kapenda after a moment. “I think I’m okay. What was it?”

“A dead cow,” said David after a moment. “What were you doing, going into the water?”

“I saw something in the hedge,” said Kapenda, and it sounded ridiculous even as he said it. He managed to rise to his feet, using the side of the jeep as a support. Water dripped from him.

“Let me see then,” said David. The man looked paler in the daylight, as though he was somehow less there, his dead eye bulging from a face that was round and wan. Its milky iris peered at Kapenda. His other eye was dark, the sclera slightly yellowing. Was he a heavier drinker than he’d appeared the night before? He had patches of rough skin, Kapenda saw, dried and peeling.

There was a bike leaning against the back of the jeep and Kapenda was suddenly struck with the image of David cycling down the centre of the road, his front wheel cutting a ‘V’ though the water, his feet submerging and re-emerging with each revolution of the pedals, and it made him smile.

“Now, let’s see this thing you were prepared to drown to get,” said David, also smiling.

“Oh, I—” started Kapenda, about to say that it was still in the hedge, and then realised it wasn’t. He was holding it.

It was a small figure, made from some dull metal. It had a suggestion of legs and arms and a face that was nested in tentacles, its eyes deep-set and its mouth a curved-down arc. Was it an octopus? A squid? A long chain dangled from it, fine-linked and dully golden. More figures were hooked to some of the chain’s links, tiny things like toads with swollen genitalia and fish with arms and legs. David held the figure up by the chain, peering at it.

“What is it?” Kapenda asked.

David didn’t answer. Instead, he spun it, watching as it caught the pallid light. Its surface was smooth, but Kapenda had the impression it was the smoothness of age and wear, that the ghosts of old marks still lay under its skin. Finally, David spoke, muttering under his breath, words that Kapenda didn’t catch.

“Do you know what it is?” asked Kapenda. He was starting to shiver, the shock and the cold catching him. He wanted to go back to the hotel and dry off, warm up.

“Yes,” said David. “I saw one once, as a child, and I hoped not to see one again so soon. Still, I suppose it explains a lot.” He rubbed one of the patches of dry skin on his neck slowly.

“The water’s coming, my friend,” he said, “and there’s nothing we can do to stop it. Its time is here again. Well, if you’re sure you’re okay to drive, I’ll leave you be. Take my advice, stay out of the water.”

“I will,” said Kapenda, “and thank you.”

“Think nothing of it,” said David and coughed again, his own private punctuation. He winked his sightless eye once more and then went and mounted his bike, wheeling it around to point back to Grovehill. Moments later all Kapenda could see of him was his back, hunched over the handlebars as he went down the road. Behind him, tiny waves spread out across the water and then broke apart.

It was only when Kapenda got back into the jeep that he remembered the bite—sure enough, his jacket was torn in two semicircles, to the front and rear of his shoulder, and the skin below bruised but not broken. He got back out of the jeep to try and see the cow but it must have floated off, and the only thing to see was the flood, ever restless and ever hungry.

* * *

The house collapsed just after lunch.

They were filming at the rope barrier again, this time framing the talent against a shot down the street to show how the water wasn’t retreating. “Forecasters say that, with the recent rainfall, the water levels aren’t expected to recede until at least tomorrow, and if more rain comes it could conceivably be several days or more,” Plumb intoned. “Great sections of the South-West are now underwater, economies ruined and livelihoods and lives destroyed. Even today, we’ve heard of two more deaths, a woman and child who drowned in their lounge in the village of Arnold, several miles from here. Questions are being asked of the defences that the government installed and why the Environment Agency wasn’t better prepared. Here, the people merely wait, and hope.”

Kapenda waited until Plumb had done his turn, letting him peer meaningfully down the flooded street, before lowering the camera. One of the other crews had found a flooded farm earlier that day and had proudly showed their footage to everyone, of the oilslick forming across the surface of the water in the barn and around it as the water worked its way into the abandoned vehicles and metal storage canisters, teasing out the oil and red diesel they contained. The rainbow patterns had been pocking and dancing in the rain, and the image had been oddly beautiful; Kapenda had been professionally impressed, and privately jealous.

“Was that good?” asked Plumb, and then stopped and listened as the air filled with a dense rumbling, grinding sound like something heavy being pushed over a stone floor.

“The building’s gone,” someone shouted, a runner with a phone clamped to his ear, “it’s completely collapsed. The flood’s surging!”

As the man spoke, a fresh wall of water appeared between the furthest buildings, higher than those that had come before it, driven by the tons of brick and wood and belongings that had suddenly crashed into the flow. The wave was a dirty red colour, curled over like a surfer’s dream. Somewhere, it had picked up trees and a car, a table, a bed and other unidentifiable shapes—all of these Kapenda saw even as he was raising the camera. In the viewfinder, he caught the things in the water as they hit the buildings, saw the car crash through the window of a chemist, saw the bed hurtle into and buckle a lamp-post, saw bricks bounce and dip like salmon on their way to spawning, and then the wave was upon them.

He moved back, never stopping filming, cursing under his breath that he’d missed the actual collapse. Things churned through the water, dark shadows darting back and forward under the surface, their edges occasionally breaking through to the air only to roll back, splash their way under again.

The water level rose rapidly, submerging the makeshift barriers and eating away at the bottom of the hill. As Kapenda and Needham and the talent moved swiftly back, jostling in amongst the other film crews, cars were lifted out of the side streets and began to jolt through the water. One of the lights exploded as the water reached the electric cables, and the others shorted in a series of rapid pops that left behind ghost spots in Kapenda’s eyes and an acrid smell of smoke in the air. Moments later, one of the generators made a series of groaning sounds from inside the community hall and black smoke breathed out from the windows as it, too, shorted out. The police pushed the crowd back, followed all the while by the water.

* * *

By nightfall, Grovehill was lost. The rains, which had continued to fall all day, had finally abated as the light faded but the floodwater had continued to rise, submerging most of the houses and shops up to their roofs. In the pub, the conversation was subdued, slightly awed. Most of the crews had worked on weather stories before; Kapenda himself had been at Boscastle in 2004, filming the aftermath of the flash flood, but this was worse—it showed no signs of receding.

Two cameramen had died when the building collapsed. One had been caught in the initial surge of water, swept away like so much flotsam. The other, further down the torrent, had been on the edge of the bank when something turning in the water, the branches of an uprooted tree, it was supposed, had reached out and snagged him, lifting him from his feet and carrying him off. His talent, a pretty blonde stringer for a local news programme, had been taken off in shock talking about how the water had eaten the man.

“I saw one of those in Russia,” said a voice from behind him.

It was one of the other cameramen—Rice, Kapenda thought he might be called. Rice nodded at the thing Kapenda had pulled from the hedge, sitting on the table by his glass of beer.

“Russia?” asked Kapenda

“I was in Krymsk in 2010 and in Krasnodar,” said Rice, “back in 2012, when the flash flood killed all those people. We found a few of those around the port in Krymsk and in the fields about Krasnodar. We did a segment about them, but it was never shown.” He picked up the figure and dangled it, much like David had done, eying it.

“It’s almost identical,” he said. “Strange.”

“What is it?”

“We never found out, not really. I always assumed it was some kind of peasant magic, some idol to keep the floods away. If that’s what it was, it didn’t work though, the damn things were always where the water was at its highest. I found one hanging from a light fitting in the upper room of a school that was almost completely submerged.” He put the thing back on Kapenda’s table.

“What happened to your segment?”

“Got archived, I suppose,” said Rice. “Pretty much what we expected. I didn’t mind, not really. Russia was a nightmare, and I had bigger things to worry about than whether the piece I filmed got shown.”

“Really?”

“Really. It was chaos, thousands of people made homeless, streets full of mud and water and corpses. In Krymsk, everything got washed into the Black Sea, and the harbour was blocked with debris for weeks after. The local sea-life was well fed, though.”

“Jesus,” said Kapenda.

“Yeah,” said Rice. “You’d see them, dark shapes in the water, and then some floating body would suddenly vanish. The official estimate for Krymsk was one hundred and seventy dead, or thereabouts, but I’ll be damned if it wasn’t far higher though. I had a friend covered the Pakistan floods, was in Sindh and Balochistan, and he told me there were things like that there as well, hanging from the trees just above the flood-line.”

“The same things?”

“Yeah,” said Rice again. “And I’ll tell you one other thing that’s odd.”

“What?”

“That old woman that died in the flood at St. Asaph the other week? That drowned in her home? There was one hanging outside her house, and one outside the house of the mother and child that drowned yesterday.”

“What? How do you know?”

Rice merely smiled at Kapenda. I have my sources, the smile said, and I’m keeping them secret. “Keep it safe,” he said as he turned and went back to the bar, “you never know when you might need protection against the water.”

* * *

Needham was in a bad mood.

It was the next morning, and he had been trying to find someone local to interview. He wanted the talent to do some empathy work, get Plumb to listen sympathetically and nod as some teary bumpkin showed them their drenched possessions and talked about how their pictures of Granny were lost forever, but there wasn’t anyone.

“They won’t talk to you?” asked Kapenda.

“They’ve all fucking vanished!” said Needham. “There’s no one in the emergency shelters, no one worth mentioning anyway, and they certainly aren’t staying at any of the farms, I’ve checked. Most of them have been abandoned too. The police aren’t sure when anyone’s gone, or they’re not saying if they know.”

“They must be somewhere,” said Kapenda.

“Must they? Well I don’t know where to fucking find them,” said Needham.

“Perhaps they all swam away?” said Plumb and laughed. Neither Kapenda nor Needham joined in.

“It’ll be dead cows and flooded fucking bushes again, you’ll see,” said Needham, disconsolate. “Isaac, can’t you find me something new?”

“I’ll try,” said Kapenda.

* * *

David was standing in the water in one of the fields a little further out from Grovehill. Kapenda saw his bike first, leaning against the hedge and half underwater, and pulled the jeep over to see what the man was doing. There was a stile in the hedge and David was beyond it, out into the field proper. Kapenda waded to the wooden gate and climbed it, perching on the top and calling, “Hello!”

“‘For Behold’,” said David loudly, his voice rolling across the water, “‘I will bring a flood of water upon the earth to destroy all flesh in which is the breath of life under Heaven.’ Hello, Isaac. They knew, you see—they understood.”

“Who knew? Understood what?”

“We have always waited for the water’s call, those of us with the blood, waited for the changes to come, but now? Some of us have called to it, and it has come.”

“I don’t understand,” said Kapenda. He wished he had brought his camera—David looked both lonely and somehow potent, standing up to his chest in the water, his back to Kapenda. It was raining again, the day around them grey and murky.

“What are you doing?”

“It has been brought this far but I worry,” said David, his voice lower, harder for Kapenda to hear. “How much further? How much more do we want? And what of what comes after us? The sleeping one whose symbol you found, Isaac? It wants the world, drowned and washed clean, but clean of what? Just of you? Or of everything—of us as well? We should have stayed in the deeps, but no, we have moved into the shallows and we prepare the way as though we were cleaning the feet of the sleeping one, supplicants to it. We might be terrible, Isaac, but after us? Do you have a god? Pray for its mercy, for the thing that comes after us—the thing that we open the way for—will be awful and savage beyond imagining.”

“David, what are you talking about?”

“The water, Isaac. It’s always about the water.” David turned—in the fractured, mazy light, his face was a white shift of moonlike intensity. His eyes were swollen, turning so that they appeared to be looking to opposite sides of his head. His skin looked like old linen, rough and covered in dry and flaking patches. He seemed to have lost his hair and his neck had folded down over itself in thick, quivering ridges. “It would be best for you to leave, Isaac. You have been saved from the water once, but I suspect that once is all.”

“David, please, I still don’t know what you mean. Tell me what you’re talking about.”

“I thought we had time, that the calling that cannot be ignored would never come, but it is too late. Others have hastened it, and the water calls to us even as they call to it. I can’t stand against it, Isaac. The change is come.”

“David—” Kapenda began, but the older man turned and began to move off across the field, bobbing down shoulder-deep into the water with each long stride, sweeping his arms around as though swimming.

“David!” Kapenda shouted, but the man didn’t turn. Just before he was lost to view, the water around him seemed suddenly full of movement, with things rising to the surface and looking back at him. Kapenda, scared, turned away and returned to the jeep.

* * *

“I’ve found us a boat!” said Needham when Kapenda got back. He didn’t seem bothered that Kapenda hadn’t found anything new to film.

“Your idea about the fields yesterday, about how smooth they are, it got me thinking,” Needham continued. “Now the flow’s slowing down, it’s safe to go out in a boat, not in the fields but around the houses. They got film of the barns yesterday, didn’t they? Well, we’ll go one better, we’ll get film of the houses, of Grovehill!”

Plumb was already in the boat, bobbing gently at the edge of the flood. It was a small dinghy with barely enough room for the three of them. Kapenda had to keep the camera on his shoulder as Needham steered the boat using the outboard on its back. Why had he come? Kapenda wondered.

Because, he knew, this was where he belonged, recording. Whatever David had meant, whatever this flood and the ones that had come before it were, someone had to catch them, pin them to history. Here, in this drowned and drowning world, he had to be the eyes of everyone who came after him.

Needham piloted the boat away from the centre of Grovehill, down winding lanes among houses that were underwater to their eaves. They went slowly—here and there, cars floated past them, and the tops of signs and traffic lights emerged from the flood like the stems of water plants. Kapenda filmed a few short sequences as they drifted, with Plumb making up meaningless but portentous-sounding phrases. Mostly, the imagery did the talking. At one point, they docked against a road emerging from the water that rose up to a hill upon which a cluster of houses sat, relatively safe. Kapenda focused in, hoping for footage of their occupants, but no one moved. Had they been evacuated already?

Several minutes later, they found themselves drifting over a playing field, the ghostly lines of football pitches just visible through the still, surprisingly clear water. While Plumb and Needham argued a script point, Kapenda had an idea—he fixed the water-cover to the lens of the camera and then held it over the side of the boat and into the water. The surprising clarity would hopefully allow him to obtain good images of the submerged world, eerie and silent. Leaning back and getting as comfortable as he could, Kapenda held the camera so that it filmed what was below while he listened as the talent and the director argued.

“Hey!” a voice called, perhaps twenty minutes later. It was distorted, the voice, coming from a loudhailer. Kapenda looked up. Bouncing across the surface towards them was one of the rescue boats, a policeman in its bow waving at them.

“Oh fuck,” said Needham.

“What?” asked Plumb.

“I didn’t actually ask permission to come out here,” said Needham.

“Shit!” said Plumb. “We’ll be fucking arrested!”

“We won’t. Isaac, have you got enough footage?”

“Yes.”

“Then we play innocent. Plumb, charm them if you can.”

“You have to go back!” the policeman called. Needham raised an arm at him and as the launch pulled alongside them, the talent began to do his stuff.

* * *

By the time they sorted out the police, with many mea culpas from Needham and much oleaginous smiling from Plumb, it was late. The water had continued to rise, its surface now only a few feet down the hill from the pub’s door. Plumb made a joke about being able to use the boat to get back to it, but it was almost true and none of them laughed.

Inside, most of the crews were quiet and there was little of the talking and boasting and arguing that Kapenda would have expected. There were less of them as well; some had already left, retreating north to the dry or hunting for other stories. In Middlesbrough and Cumbria, rivers were bursting their banks and Kapenda watched footage on the news of flooded farmland and towns losing their footing to water. In one tracking shot, he was sure he saw something behind the local talent, a tiny figure hanging in a tree, spinning lazily on a chain as the water rose to meet it.

Back in his room, Kapenda started to view the film he had taken that day. The first shots were good, nice framings of Plumb in the prow of their dinghy with Grovehill, drowned, over his shoulder. He edited the shots together and then sent them to Needham, who would work on voiceovers with Plumb.

Then he came to the underwater footage.

They were good shots, the focus correct and imagery startling. The water was clear but full of debris—paper and clothing and unidentifiable things floated past the lens as it passed over cars still parked in driveways, gardens in which plants waved, houses around which fishes swam. At one point the corpse of a cow bounced languidly along the centre of a street, lifting and falling as the gentle current carried it on. The dead animal’s eyes were gone, leaving torn holes where they used to be, and one of its legs ended in a ragged stump. It remained in the centre of the shot for several minutes, keeping pace with the boat above, and then it was gone as they shifted direction. Kapenda’s last view of it was its hind legs, trailing behind as it jolted slowly out of sight.

They were in a garden.

At first, he thought it was a joke. Someone had set four figures around a picnic table, seated in plastic chairs, some kind of weird garden ornamentation, and then one of the figures moved and Kapenda realised that, whatever they were, they were real.

Three were dark, the fourth paler, all squat and fat and bald. One of them held a hunk of grey meat in its hand, was taking bites from it with a mouth that was wide and lipless. Their eyes, as far as Kapenda could tell, were entirely black, bulging from the side of their heads. All four were scaly, their backs ridged. As Kapenda watched, one of the figures reached out and caught something floating past and its hand was webbed, the fingers thick and ending in savage, curved claws.

As the figures moved off the side of the screen, the palest looked up. Thick folds of skin in its neck rippled, gill-slits opening and closing. Its mouth was wide, open to reveal gums that were bleeding, raw from tiny, newly-emerging triangular teeth. It nodded, as though in greeting, and raised a webbed hand to the camera.

One of its eyes was a dead, milky white.

Kapenda turned off the camera and went to stand by the window. He took the little figure from his pocket, turning it, feeling its depth-worn smoothness as the chain moved through his fingers.

He watched as figures swam through the ever-advancing water below him, never quite breaking the surface, forming intricate patterns of ripple and wave. Rice had called the thing from the hedge an idol. Was it simple peasant magic? No, this was nothing simple, nothing innocent. The idol looked nothing like the figures in the flood, was something harsh and alien. What had David said? That it was the thing that came after?

What was coming?

The rain fell, and the water rose to eat the Earth.