"You're at the scene alone?" That feels wrong. A place where such destructive power was recently released would still be weak, scarred, and a very vulnerable position.

"I mean, why here?" Novak rambles on, as if he hadn't heard her. "If the murders are about showmanship, why do it outside in the rain where all the work gets washed away before anyone sees it?"

"Listen carefully: you need to get-" A vibration like static suddenly buzzes through the air, the call cutting off. For a split second, the whole glamour network flickers, making her breath catch as surely as a skipped heartbeat would.

"Shit," Kelsey says to no one. Given the size of the network, even a slight fluctuation means a big power drain, and if the interruption wasn't on her end it was probably on Novak's.

It will take her whole minutes to fly to the first kill site. He might already be dead.

She feels the Old One from three blocks away, the city crying and cowering in all directions around it. It is unquestionably active, roiling with a sulfurous heat that chokes her as she approaches from above. For once, the Old One isn't hiding in the glamour. Instead it twists the glamour into hideous malformations that nauseate Kelsey even before she glimpses them with her eyes.

The view of the alley nearly knocks her from the air. At one end, an enormous cloud of black smoke boils and churns, full of glowing eyes and gnashing teeth and other monstrous parts that smoke should not have. The smoke cloud seems to pulse and grow, promising horrible agonizing death.

At the other end, Novak is literally stuck where he stands. The pavement has come alive, crawling inexorably over his shoes and up his legs, and-to Kelsey's ears-screeching like a torture victim all the while. Terror rolls off his skin in waves.

The Old One is toying with him, devouring his fear like candy. And it's using the city's glamour to do so.

Kelsey drops down into the alley like a stone, half shifting in mid-air so Novak will recognize her. She keeps her wings, though, to soften the landing.

The Old One's many eyes focus on her and it exudes annoyance at her distraction.

She glares right back. "You think you know glamour, do you? You think you can use my city?"

The Old One huffs disdainfully and gnashes its teeth. Fleshy tentacles curl and whip through the smoke, eager to get on with its horrific business.

"I don't think so."

Kelsey goes down on one knee and places both palms against the wounded pavement. She can feel the threads of abused glamour twisted and knotted within the smoke cloud. Through her palms she senses how the wrongness radiates outward, disturbing the whole city. And if she focuses, she can feel exactly which threads to yank to make it all fall apart.

She yanks.

The integrity of the smoke cloud falters and the Old One lets out a surprised hiss. Then Kelsey flares her wings wide and reaches out through her palms to the pavement, the alley, the streets beyond, and she pulls the citylight into herself. She begins to glow with orange incandescence, the artificial light of a thousand streetlamps growing brighter and brighter until she fills the alley with blinding modernity and the Old One flees.

Kelsey lets go of the light and for a moment all she can do is cling to the blacktop, exhausted and blinded by her own trick. The city should not have lent her such an ability, not in her blasphemous state of being, but she is nonetheless glad that it did. With a sigh, she lets go of her wings and finishes the transformation into her human-form.

She stands and turns to face the shell-shocked Novak. The pavement has gone dead again, unfortunately while still wrapped around his legs. Kelsey stumbles over to him, shivering with cold and adrenaline, and she kneels down to coax the pavement off of him. After a minute of her gentle whispering, it melts back down and resumes its former shape.

Novak stumbles, almost falls. Eventually he finds his voice again. "A-are you a guardian angel?"

She blinks at him. "Even if I were, I wouldn't be yours."

"But . . . " He leaves his mouth hanging open for a moment before shutting it and looking away. "I don't even know your name."

"Kelsey," she says, with impulsive honesty.

"I . . . need to sit down," he says but makes no move to do so.

Another wave of shivers runs through her fragile human flesh. "Let's find somewhere warm. Come."

It takes Novak three cups of coffee and half an order of cheese fries at an all-night diner before the interrogation instinct supplants the shock. After what he saw, Kelsey doesn't see much use for denial, so she answers his questions more or less truthfully.

"So what are you, if not an angel?"

"A grotesque."

"Are there others like you?"

"I'm unique," she says, which is true though not the answer to the question he meant.

He shakes his head. "Look-it's not that I'm not grateful, but why did you help me?"

"I protect." She shrugs uncomfortably. "Humans, Lorefolk, the city itself . . . from each other. That's what I do."

"Lorefolk?"

"Things like me, and like it." The pronoun alone makes her want spit again, though she contains the impulse. "And others like nothing you've ever seen."

"It?"

"An Old One."

He rubs his face with one hand, as if her freely given answers only serve to frustrate him more. "None of this makes any sense."

She shrugs, not knowing what to say to that, and watches the waitress refill Novak's mug.

"Are you sure you don't want anything?" he says for the third time, in between questions.

She shakes her head. "Grotesques don't eat." Her human-form might be able to, but now doesn't seem like a good time to experiment. She feels dizzy and lightheaded, and all knotted up in the midsection.

"You're looking pretty human to me right now. Come on, try some." He pushes the half-eaten plate of cheese fries across the plastic table-top towards her.

Kelsey picks up a single fry and puts it in her mouth. The sensation on her tongue is foreign, overwhelming, and not entirely pleasant. She works her jaw the way she watched him do and swallows it. Her midsection seems to respond, though she can't parse out whether the reaction is positive or negative.

"So? What do you think?"

She frowns, considering. "Being human is problematic."

Novak laughs. "Believe it or not, cheese fries are the easy part."

She pushes the plate back across the table. She does not want to learn how to be human. Not now, not ever. This is a temporary alliance between two protectors of the city and nothing more. The task at hand is all that matters.

She says, "You should know: what I did in the alley with the light just spooked it, didn't get rid of it for good. The Old One's got your taste in its mouth now. It will come back for you."

His hand holding the coffee mug freezes halfway to his mouth. He sets the mug down cautiously, as if afraid his muscles will betray him. "It could be out there killing people right now."

"No, that's not likely." Kelsey shakes her head. "It's you the Old One wants now."

Kelsey rides in his car back to his apartment, and she gives him instructions to turn all the lights on and stay inside until dawn. Just in case, she walks a quick circuit of all the rooms, painting the walls with a subtle glamour of disinterest and distraction. Noto see here, move along. She hopes it will be enough. There is work to be done, and she cannot bring him where she needs to go. On the fire escape outside his window, she transforms back into herself and takes to the air.

She approaches Museum Campus from the north, flying low over Grant Park and Lake Shore Drive. The Field Museum, in all its Neoclassical glory, sits atop a well-manicured grassy hill with the Shedd Aquarium nestled against the lakefront some three hundred feet to the left. An expansive flight of steps leads up to the four massive Ionic columns of the museum's north entrance. Kelsey cannot get in that way, of course, not in the middle of the night.

She shims open the latch on a top floor window, slides through the narrow space, and drops down into an empty office room. Peering out into the hall, she checks for cracks of light under the other doors; no one appears to be working this late. Good.

The upper floors, reserved for curators and research staff, are arranged in a disorienting grid of look-alike hallways. Kelsey finds the nearest stairwell and descends into the public-access portion of the museum, and the door at the top of the stairs swings shut and autolocks behind her.

She tried propping the door one time, but the electronic security system tattled on her and a guard fixed the problem before she got back. Funny how it's harder to break out than in.

The second-floor balcony offers a stunning view of the marble-floored main hall below. The hall stretches all the way between the north and south entrances and holds some of the larger items on display, including two taxidermied African elephants and the biggest Tyrannosaurus rex skeleton in the world.

The skeleton is named Sue. Kelsey doesn't understand the desire to truss up dead things and show them off, and she especially doesn't understand the need to name them. She wishes the humans wouldn't clutter up beautiful architectural spaces.

One hop and she's over the balcony railing, wings snapping open to guide her descent. She lands almost silently, nothing more than a whisper of claws on marble, and darts through a doorway on one side. She runs down a long hallway lined with more crass displays of dead animals. In the back, the hallway opens up into a high-ceilinged exhibition hall wherein her destination lies: a full size replica of a Maori meeting house.

The structure encloses one large, empty room, with a doorway and a single window set into the front wall. Carved mask faces cover the dark, polished wood on the exterior, and the inlaid mother-of-pearl eyes seem to glow in the dimmed lighting. It is a sacred structure, patiently waiting to be used for the purpose it was meant for-a fulfillment that will never arrive.

The Lorefolk, at least, found a use for it, and a respectable one at that. Kelsey steps forward until she can rest her hands on the empty door frame. The wood feels smooth and warm beneath her fingertips. She mutters the Old Words and sends her will down her arms to fill the doorway, and the view of the interior wavers as if no longer confident of its reality.

Kelsey steps through. Her feet land on grass, and a clean, unscented breeze lifts her crest feathers. Behind her, an empty stone archway leading nowhere; in front, the architectural collage of the Engineer's workshop.

The low, sprawling structure shows no respect for right angles. It has three prominent domes-the smallest built of glass and the larger two of wood painted white with stripes of gold-fewer windows than all that weirdly-angled exterior wall space might suggest, and only one door.

Kelsey sidles forward hesitantly, glancing at the rocky humps of small hillocks surround the workshop on all sides, eerily silent and isolated to her city-accustomed mind. She opens the door and slinks inside. The front hallway opens up into a cavernous pentagonal room, three storeys high plus the domed ceiling. Five enormous machines hulk in the center of the room, all shining brass and dark bronze. They hiss and chug in a steady rhythm, filling the air with almost musical sound.

A single door is set in each of the five walls on each floor, and it is from one of these upper doors that the Engineer emerges. He follows a catwalk along the wall to a set of stairs and begins to descend without looking up from the leatherbound book in his hands. The Engineer is a short and squat little man with three sets of spidery arms and an extra joint in each of his too-long fingers. His wrinkled face gives him a look of perpetual squinting, and his ragged robes could be as old as the wrinkles.

Kelsey freezes where she stands, feeling unworthy to ask for his regard. She should go before he notices her.

He reaches the bottom of the stairs and, without looking at her, says, "The Engine Room is not open to the public."

"Sir, I need a moment of your time."

The Engineer adjusts the round set of spectacles perched on his nose. "I'm occupied, as you can see."

"There's an Old One loose in Chicago, and it's using the glamour network."

He makes a motion that might be a shrug. "The network is built for all Lorefolk to use."

"But the Old One isn't just hiding, it is draining power to use during its killing sprees. It's a parasite. It has to be stopped."

"That is . . . interesting." His lowest set of arms folds across his stomach, and his upper arms slowly close the book. "What would you have me do about it?"

"Sir, I know that I impose upon your time, but-"

"To the point, if you please."

Kelsey takes a deep breath and let it out. "I need you to build me a trap fit for an Old One."

Once she slips past the museum guards and regains her freedom, enough night remains for Kelsey to fly back to Novak's apartment and check on him. She alights on the fire escape outside his living room window and peers in. He has fallen asleep in an old armchair, and instead of waking him, she sneaks in and leaves a note: meet me in Rockefeller Chapel at sundown. Then she departs to find a resting spot of her own.

Sunrise. The oblivion of sleep. Sunset.

Kelsey launches into the darkening sky, beating her wings to gain some altitude. The campus blurs beneath her, and she lands atop the tower of the university chapel. She takes the spiral stairs down, fingertips running along the brick-lined inner wall of the tower. The chapel sighs comfortably, still warm and calm from the Engineer's daytime visit-she can feel the residue of his presence in every brick.

She cuts through the dim-lit sanctuary past the long shadows of polished-wood pews and finds a side door locked only from the outside. Sticking her head out, she yells for Novak, who comes jogging around from the front entrance. His flashlight rakes her eyes and she squints against the brightness to see him jerk to a halt.

Too late, Kelsey realizes she's wearing her real face.

"It's me," she says curtly.

"You're . . . you're a monster."

"I told you I'm a grotesque. What exactly did you expect?" She spits, angry that for a moment he made her wish for her human face. "If you stand out there all night, the Old One will paint the grass with your innards. Come."

He comes forward again, cautiously now, and slips through the door she holds open. The high, vaulted ceiling of the sanctuary swallows up the brightness of his flashlight, and the scuff of his shoes on the stone floor echoes.

"So, what-ancient cloud demons don't like churches?" He forces out the words, trying not to look at her.

Kelsey shakes her head. "Doesn't matter that it's a chapel, but it does matter that it's my chapel. I know these stones well. They'll aid me."

He breathes deep, lets it out, and turns to face her. "Okay. What's my job?"

"Sit on the dais and act, you know, murderable."

"I'm the bait?"

She blinks. "Naturally. What did you think I needed you for?"

She turns away and walks the length of the sanctuary on both sides, checking the small brass relays hidden behind each pillar. No long antennas on these pentagonal brass contraptions-the Engineer didn't build them for transmitting in this instance. What Kelsey needs is the opposite. She circles back to the dais and finds that the Engineer left the trigger on the podium, as promised. She picks it up, round and brass like a pocketwatch but singing with the power of glamour.

She says, "Not long now."

"Oh. Great." Novak flops down on the steps of the dais, elbows resting on knees. "I love this plan."

She stares at him, perplexed. "How you feel about it isn't relevant."

"I was being sarcastic."

"The alternative is dying in an explosion of gore."

"Look-I'm in, okay? But I don't have to like it, is all."

Not knowing what to say, Kelsey shrugs it off. Now is the time to focus. She springs up, gives the air two long strokes of her wings, and finds a perch atop the large pipe organ on the right side of the dais. The height and partial concealment give her a comfortable edge. She's ready for it.

They wait.

It comes.

Slowly at first, like the howl of a distant hurricane, the city begins to moan. As the Old One approaches, the calm evaporates from the chapel walls and each stone seems to shiver in terror. Kelsey feels the tremor when the Old One's fluid mass breaks like a wave against the outer wall. It leaks in through the cracks around the front doors, a black cloud thicker than firesmoke pouring into the air.