Grave Peril (The Dresden Files 3)

I tried to keep my cool as I drove, at least as best as I could. My wizard's propensity for blowing out any kind of advanced technology seems to get worse when I'm upset, angry, or afraid. Don't ask me why. So I did my best to Zen out until I got to my destination - parking strips alongside Wicker Park.

A brisk breeze made my duster flap as I got out. On one side of the street, tall town houses and a pair of apartment buildings gleamed as the sun began to go down over the western plains. The shadows of the trees in Wicker Park, meanwhile, stretched out like black fingers creeping toward my throat. Thank God my subconscious isn't too symbolically aware or anything. The park had a bunch of people in it, young people, mothers with kids, while on the streets, business types began arriving in their business clothes, heading for one of the posh restaurants, pubs, or cafes that littered the area.

I got a lump of chalk and a tuning fork out of my exorcism bag. I glanced around, then squatted down on the sidewalk and drew a circle around myself, willing it closed as the chalk marks met themselves on the concrete. I felt a sensation, a crackling tension, as the circle closed, encasing the local magical energies, compressing them, stirring them.

Most magic isn't quick and dirty. The kind of stunts you can pull off when some nasty thing is about to jump up in your face are called evocations. They're fairly limited in what they can do, and difficult to master. I only had a couple of evocations that I could do very well, and most of the time I needed the help of artificial foci, such as my blasting rod or one of my other enchanted doodads, to make sure that I don't lose control of the spell and blow up myself along with the slobbering monster.

Most magic is a lot of concentration and hard work. That's where I was really good - thaumaturgy. Thaumaturgy is traditional magic, all about drawing symbolic links between items or people and then investing energy to get the effect that you want. You can do a lot with thaumaturgy, provided you have enough time to plan things out, and more time to prepare a ritual, the symbolic objects, and the magical circle.

I've yet to meet a slobbering monster polite enough to wait for me to finish.

I slipped my shield bracelet off of my wrist and laid it in the center of the circle - that was my channel. The talisman I'd passed off to Lydia had been constructed in a very similar manner, and the two bracelets would resonate on the same pitches. I took the tuning fork and laid it down beside the bracelet, with the two ends of the shield bracelet touching either tine, making a complete circle.

Then I closed my eyes, and drew upon the energy gathered in the circle. I brought it into me, molded it, shaped it into the effect I was looking for with my thoughts, fiercely picturing the talisman I'd given Lydia while I did. The energy built and built, a buzzing in my ears, a prickling along the back of my neck. When I was ready, I spread my hands over the two objects, opened my eyes and said, firmly, "Duo et unum." At the words, the energy poured out of me in a rush that left me a little light-headed. There were no sparks, no glowing luminescence or anything else that would cost a special effects budget some money - just a sense of completion, and a tiny, almost inaudible hum.

I picked up the bracelet and put it back on, then took up the tuning fork and smudged the circle with my foot, willing it broken. I felt the little pop of the residual energies being released, and I rose up and fetched my exorcism bag from the Beetle. Then I walked away, down the sidewalk, holding my tuning fork out in front of me. After I'd taken several paces away, I turned in a slow circle.

The fork remained silent until I'd turned almost all the way around - then it abruptly shivered in my hand, and emitted a crystalline tone when I had it facing vaguely northwest. I looked up and sighted along the tines of the fork, then walked a dozen paces farther and triangulated as best I could. The direction change on the way the fork faced when it toned the second time was appreciable, even without any kind of instruments - Lydia must have been fairly close.

"Yes," I said, and started off at a brisk walk, sweeping the tuning fork back and forth, setting my feet in the direction that it chimed. I kept on like that to the far side of the park, where the tuning fork pointed directly at a building that had once been some kind of manufacturing facility, perhaps, but now stood abandoned.

The lower floor was dominated by a pair of garage doors and a boarded-up front door. On the lower two floors, most of the windows had been boarded up. On the third floor, truly bored or determined vandals had pitched stones through those windows, and their shattered edges stood sharp and dusty against the blackness behind them, like dirty ice.

I took two more readings, from fifty feet on either side of the first. All pointed directly to the building. It glowered down at me, silent and spooky.

I shivered.

I would be smart to call Michael. Maybe even Murphy. I could get to a phone, try to get in touch with them. It wouldn't take them long to get here.

Of course, it would be after sundown. The Nightmare, if it was inside Lydia, would be free to leave her then, to roam abroad. If I could get to her, exorcise this thing now, I could end the spree of destruction it was on.

If, if, if. I had a lot of ifs. But I didn't have much time. The sun was swiftly vanishing. I reached inside my duster and got out my blasting rod, transferring my exorcism bag to the same hand as the tuning fork. Then I headed across the street, to the garage doors of the building. I tested one, and to my surprise it rolled upwards. I glanced left and right, then slipped inside into the darkness, shutting the door behind me.

It took a moment for my eyes to adjust. The room was lit only by the fading light that slipped its fingers beneath the plyboard over the windows, the edges of the garage doors. It was a loading dock that encompassed almost the entire first floor, I judged. Stone pillars held the place up. Water dripped somewhere, from a broken pipe, and there were pools of it everywhere on the floor.

A brand-new side-panel van, its engine still ticking, cooling off, stood parked at the far side of the loading dock, next to a five-foot-high stone abutment, where trucks would once have backed up to load and unload goods. A sign hanging by one hinge, over the van, read SUMMER'S TEXTILES MFG.

I approached the van slowly, my blasting rod held loosely at my side. I swept the tuning fork, and my eyes, around the shadowed chamber. The fork hummed every time it swept past the van.

The white van all but glowed in the half-light. Its windows had been tinted, and I couldn't see inside of them, even when I came within ten feet or so.

Something, some sound or other cue that I hadn't quite caught on the conscious level made the hair on the back of my neck prickle up. I spun to face the darkness behind me, the tip of my blasting rod rising up, my bruised fingers wrapped tight around its haft. I focused my senses on the darkness, and listened, honing my attention to the area around me.