Not nothing like empty, I mean. Nothing like a hole cut into the world. The men step back, and one of them drops his flashlight, and its beam rolls across the floor of the container and simply stops, swallowed, as if the light itself has been told it is not welcome. A cold comes out of that dark that I feel in my fillings. Elspeth is whispering something, a prayer maybe, in a language I do not know. And my phone, dead and black in my hand, lights up one final time. It does not show text. It shows a photograph. It is a picture of me, taken from above, crouched in this exact gap between these exact sheds, with Elspeth Duffy beside me, and in the corner of the frame, standing at the mouth of the gap, tall and grey and perfectly still, is the figure from the crane. The timestamp reads 4:52 AM. My watch says 4:51.
I do not turn around. I cannot. I hear Elspeth exhale beside me, slow and resigned, and I understand, with the clarity that comes only at the very edge of things, that she has seen this photograph too, on her own phone, many times, in many years. “One minute,” she says softly. “That’s always how long we get.” The fog presses in. The container breathes its dark. Somewhere behind me, a footstep lands on wet wood, unhurried, patient, the sound of someone who has already arrived.
The screen changes again. Five words this time, white on black: “This one is from me.”
I read them twice. I do not know whether the me who wrote them is trying to save the woman holding the phone, or trying to make sure she stays exactly where she is. The message does not say what to do. It only says that it is the last one, and that it was sent before I ever sat down on this pier, and that somewhere in the fog, a clock I cannot see is counting the seconds I have left to decide who I trust.
The footsteps stop.
I close my eyes.
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