DP FICTION #130B: “This Is Not a Space Kidnapping Fantasy” by Priya Sridhar

edited by Ziv Wities

Content note (click for details) Non-graphic description of significant harm to a child; rioting.

If you were a ‘90s kid, you’d get it. Our generation teetered between the days of outdoor activities and Internet fun. Friendship bracelets slapped onto our wrists while “You Got Mail!” and “0 new messages” defined who we were online.

Then there was Donita’s Infernos. You can still find clips of it online, often paired with a clip of Swamp Thing impaling a serial killer.

Memes have recreated one particular scene: Donita Inferno reaches out to a security guard, trying to warn him as a fireball from a rocket is coming their way. I had seen this scene in theaters, and I’d let it rest in my memory for years. The Internet had rediscovered it, flames and all.

The most recent caption read as follows: “Trying to warn Ante Inferno about Rule 34 before he goes online.”

***

I watched the sky while ripping out seams. Airplanes sparked like stars as they made their journeys. A full moon overlooked grimy skyscrapers. Cars screamed through the last dregs of rush hour.

“So the thing they don’t tell you is that if you’re a girl in Hollywood,” the audiobook on my phone whirred, “you are valued by how cute you look in a swimsuit.” I couldn’t hear the next bit over the sewing machine, and then her voice was back: “I felt so embarrassed when they put their foot down and made me wear my red one-piece, which was like-new and fine. Now I keep thinking what a relief it was to have a normal mom and dad. That was the last time I remembered them being normal.”

My hands ached. I reached for my Inferno alien plushie, handmade and a gift from Mairavell2. Technically, I didn’t have a sewing room; I was at home, and I had adjusted the pattern in my tiny bedroom when not helping my dad with his chronic arthritis. It had taken a few months of saving my paycheck to afford the Janome, and then work decided I was no longer valuable. But RocketCon offered no refunds. And I needed an outfit.

I should have been excited to finish my Donita Inferno cosplay. It spread over my desk, shining from every angle. Instead, I kept looking out the window. The plushie squeaked between my hands, as if it was agreeing with the audiobook and me on how weird it was that a bunch of grown men had hosted a pool party for preteen girls. 

“I had been invited because I was in a box office hit that should have flopped. But I still had burns on my arms and a buzz-cut since the fireball stunt burned off half my hair.” It felt weird, imagining Donita Inferno caring about being in with the cool crowd at a skeevy pool party. That wasn’t where I’d think she’d want to be.

It definitely wasn’t where I wanted to be. Still no rockets. There were supposed to be rockets shimmering with colorful smoke. They would have shown up, glowing over the streetlights.

The book reached a chapter about the big premiere when my phone pinged. I’ve dreamed of it too, Mairavell2 posted on Tumblr in their reblog. Though I knew the words by heart, I read anyway: a dream of the Infernos sending a message to Earth, to the people. The Infernos were returning from a journey light-years away. They planned to recruit an army to explore the stars, find livable planets, and save humanity. All you had to do was show up in an abandoned clearing. They would handle the little details of location and timing.

I hadn’t dreamed about it yet. But if I had, I would be telling the Infernos to come to RocketCon.

“A stylist had put me in a long-sleeved dress and extensions. You can see me wobbling in heels, clinging to my dad the whole time. This movie nearly killed me, killed my acting career before I could decide if I wanted to act, and I had to pretend that it was great, everything was great. It was supposed to be an honor. The adult actors kept cheering me on. But I noticed one thing: no one else at the premiere covered their arms.”

Kinning was dead. Dream-sharing was in. And yet the sky did not light up with magic. Just stars and airplanes.

***

At RocketCon, people were decked out in space outfits. We attendees and vendors were occupying a hotel ballroom just off the highway. I was tabling for a local author, who’d pay in cash. He did have a reputation for browbeating other creators into joining his company, with loud promises that Netflix would make them famous, but the money helped me justify being here.

The author’s table had a great view of Artist’s Alley, showing celebrities and indie artists alike. I could park with a book while guarding the cash box. The cast for the Doctor Who reboot had the most crowded lines. A real scientist who had served as a consultant for a new Netflix show, Space Fleet Thing, was giving away pamphlets on terraforming moons.

Celestia Marcoh had a short line. When the author came from his Dollar Shop panel and gave me a break, I went over. She was selling copies of her book. Her sundress was bright yellow and black, with marigolds embroidered along the hem.

“Great outfit,” she said.

“Thank you,” I preened. “I made it myself.” I had worked so hard on it, checking and re-checking that the silk and satin matched.

Her eyes noted the flames. She broke eye contact. My cheeks turned pink.

“How are you feeling, by the way?”

“Oh, peachy keen. The coffee in this place is amazing.” She took the print from a pile of them and signed.

“Did you have a hard time getting up here?” I asked.

“No, the drive was okay,” she said. Her voice had a deep warble to it, like she was hiding a laugh. “The pickup handles the highways fine. I don’t know why people complain that this city has the worst drivers.”

I laughed. It made the silk collar flutter.

“Just wanted to say that I’m sorry,” I said.

“For what?”

“I read your book.” Rather, I listened to it on a library app. “I’m sorry that you went through all that.”

Her smile betrayed sadness. She flipped her palm to reveal burn scars running up and down her arms. Irregular red and purple blotches, swollen with age.

Donita’s Infernos was very influential to me.” I considered the art print. “It got me interested in space travel and physics. I wanted to be an astronaut.”

“Did you become an astronaut?”

“Nah.” I reached for a copy of her book and took out a few twenty-dollar bills. “I didn’t have the grades for it. But I still love outer space.”

Her hands folded the twenty-dollar bills. With the print, she didn’t need to give me change.

“You shouldn’t feel bad that the film gave you dreams and ambitions for a new future,” she replied. “Lots of people have come to me and said they got into astronomy or science because of the movie. Others found their community.”

“They did?”

“Sometimes a person’s dreams are good for them, even if they are another person’s nightmare.” She considered the book. “What’s your name?”

“Vega. Vega March.” So sue me, my parents wanted to give me a unique name.

She signed with a white feather pen. Wisps of plastic feathers shed onto the book like ashes. I read the epigraph that she added to her signature, with plenty of loops.

To Vega: May your dreams come true and set the world ablaze.

***

Fun fact about Celestia Marcoh. She played Donita, but she had never wanted to be in a space movie. Her dream was to be a Disney princess. At least, that’s what she claimed in an interview back in the ‘80s. Later on she noted that while she was five when she said that, her feelings have stayed the same. No one gets traumatized from voicing a princess.

Donita’s Infernos was her biggest role. She did a few sitcoms and one TV movie, but then vanished. You’d be lucky to spot her in a Geico commercial. Seeing her at the con was a godsend.

Celestia’s Falling from The Spaceship talks a lot about how the stunts for the film were done with no safeties, and she almost dislocated an arm. Best known, of course, is how one of the biggest stunts — the fireball scene —was done with real explosives, and she got burned. Her parents sued the studio and got settlement money. While they set some aside for her schooling, they spent the rest while they kept driving her to more acting gigs. And Celestia asserts that she was one of the lucky ones, who drank a little and avoided the heavy drugs. She knew other child actors who had gotten into much worse shit.

Part of the reason that she couldn’t build a career in film was that she still had burns and emotional trauma from the fire. That she wasn’t typically thin and pretty didn’t help. At best, she could be an extra in a romantic comedy⁠—someone who was the butt of the joke while coated in heavy makeup.

She’s not returning to the reboot, by the way. Her co-stars invited her back for a cameo, since they were the only decent people out of the whole mess. They’d match the salary that some of the more famous stars have. No dice; she’s done with that life.

Some other actress will take her place as the new Donita. Or Don, if they change the gender, like some tweets are saying. Lucky bastard.

***

Celestia packed up early. Her pile of books had vanished, though she still had a few straggling prints. She took her time arranging the prints and her poster inside a camouflage-patterned suitcase.

The flame-embroidered collar tightened around my throat. She seemed smaller as an adult, even though she was five foot eight. I had scars too, but no one had given them to me. They had dripped from an accident with a glue gun that I had bought with my own money. It was my own stupidity that had caused my scar. Donita’s burns came from no one caring about her. Sorry⁠—Celestia. No one cared about Celestia.

After helping the author with his supplies and packing up, I walked back to my car, struggling with a heavy tote because someone had been selling a giant green OMGAlien plushie with square glasses, which I couldn’t resist, despite my nonexistent income. He went in the backseat, and I considered buckling him in like a child. Instead, I wedged him into the tote bag and placed it on the floor. Celestia’s book went in the passenger seat.

My phone pinged. I checked it. My bestie Katia, who hadn’t been able to attend RocketCon, sent another meme. The same one with Donita screaming, but a new caption: “NASA telling Inferno fans to ignore the rockets in the sky.”

A flash of silver against the evening sky. I paused, closed the car door, and looked. Shiny smoke. Sparkles and booming swirls of exhaust in the air.

Other people pointed. Some were decked in Inferno capes, and some were wearing polo shirts and jeans. Their mouths opened. Crackling, like static television mixed with thunder, drowned them out; the decibels dripped from the sky. They echoed from the smoke that was too large to come from an airplane.

I texted Katia back, they’re here.

Celestia Marcoh caught my eye; I turned. She was also packing her car, careful to load boxes with display equipment into the trunk. Her jacket snagged on the trunk lid and she had to put down one box to free the button. Our eyes met, and she said something I didn’t catch. Or maybe she was muttering to herself.

The rockets weren’t vanishing. They were lingering in the distance. Other lights went up, flashing. More crackling fading.

I left my car and started walking. Rush hour would be murder, and I knew where I had to go. Find a section of woods out just beyond the city, and spy on an abandoned house. Make sure you see the family testing out their powers. Anyone that tried driving to the rockets would be stuck on the road for hours.

Before leaving the lot, I looked back at Celestia. She waved her arms at the crowd, shouting despite the fact that we couldn’t hear anything. But I could read her lips.

Don’t go.

***

The Infernos were a unique family. They had powers, namely telekinesis and flight. While the boys were good with technology and fixing it, the girls would show their adeptness in combat. Considering this was the early days of CGI, most of the scenes still held strong.

They weren’t quite invisible, but no one would notice them. Ordinary people couldn’t see the Infernos when they were working. Despite the silvery space suits (and the long sparkling hair, in the case of the family patriarch Ante Inferno), no one paid them any attention. If someone did, more than likely that person would get hurt. They would break into space sites, often ones that had launches scheduled. 

What was interesting was that while the Infernos were touted as heroes, our actual protagonist Nita, short for Donita, knew they weren’t. She was hiking in the woods nearby and stumbled upon their house when she noticed a trail of silvery moondust leading to their porch. The next thing she knows, she sees kids and adults bouncing in the air. Oldest brother Kai spots Nita watching, and she ends up in the air as well, being tossed around. She’s seen too much, and now she can’t leave. The Infernos recruit her as their latest family member.

Of course, Nita learns that she hadn’t discovered their enclosure by accident. She has the outside element that the Infernos have been missing: the understanding of how the real world works. They’ve been isolated for so long, traveling through space invisible and unwanted, that they’ve long forgotten what people needed.

Secretly, I think we all wanted to be Donita Inferno. We wanted the powers, and for someone to take us away from our ordinary life. Most of the fanfics show that we want to be special, with OC after OC sneaking into the spaceship. We never met outside our stories. There could only be one special Inferno. 

***

More footsteps. Other people were also walking, still in their cosplays. They’d left their vehicles behind in the hotel parking lot. And newcomers, too; joining in ones and twos. I saw a girl holding up her phone and attempting to scream into it. Go figure.

The roads were not meant for pedestrians; sidewalks ended without warning. Other cars honked at the people in jeans and homemade space suits and long, flowing wigs. Some drivers clutched their steering wheels and looked like they wanted to run the crowd over.

On another day, I would have understood. But I didn’t want to understand a world where I’d have to go home and wait for my dad to yell that he needed his back rubbed and I was doing it all wrong.

Running was not an option, even though we were in a race. It would take a while to reach the rockets, which seemed larger with the searchlights as they soared over the orange skyline. They were designed to travel faster than light. We only had legs meant for mere mortals.

We walked across the highway in a group, ignoring the cars, the curses from drivers, and our buzzing phones. A cigarette flew from an open window; it bounced off my arm, glowing orange. I barely felt the singe.

Traffic built up behind us as we kept moving. There were a few dozen of us now. I wondered how many were people who had dreamed of rockets from other planets, of alien abductions that would allow them to fly. And just how many had been attending RocketCon, asking the Infernos to attend too. To join an army that wanted them.

Nita hadn’t wanted it. Nor had Celestia. But neither of them had been given a choice.

The sun kept sinking behind the skyscrapers. Bugs came out, no-see-ums and mosquitoes surrounding us. We swatted in rhythm with our walking.

My feet ached. If I stopped, the pain concentrated in the heels. My skin itched and sweated. But I kept up my pace, so I wouldn’t be left behind. We were already closing ranks.

More red trucks stopped us. Not ordinary ones. These had coils of hoses and ladders. I had seen them when cars crashed into cylinders. On television, the hoses uncoiled and spread at burning houses. Here, they just stood in our way.

Behind them, caution tape criss-crossed on the tiny path that led off the highway. So did crowds of bright yellow suits and oversized helmets. 

We stopped. The spell didn’t break. Nor did that ping of wrongness surging through my urge to just charge past them. 

“The road is closed up ahead,” a firefighter announced through static feedback. “This is a restricted area. Please turn around.”

His helmet lacked a facemask, but it covered his mouth and nose in shadow. Sweat gathered on his brow and dripped. He blinked as some ran down over his brows without stopping. The megaphone shook between two hands. 

The staticky voice was the first noise we had been able to hear properly since the rockets had passed, and what it was telling us was ridiculous. This wasn’t restricted. The road is everybody’s. Were they here just to stop us? 

Indignant shouts filled the air. I was one of them, argumentative and tired.

“We have the right!”

“Move, you jerks!”

“They promised us the stars.”

“Guys, please be reasonable,” the firefighter with the megaphone responded. “The terrain up ahead is strewn with garbage. It’s acres of fire hazard; we have to contain it before it spreads.”

More indignant shouting. That would be worse, wouldn’t it? If they weren’t even trying to stop us specifically; if we were supposed to just give up on everything because of a bunch of garbage and some fire regulations. No. Our dream was the same one that had been shared across minds and social media. We had the right to follow the rockets, to find what was promised to us.

“Turn around,” he repeated. “There is literally nothing but garbage up there.” 

Maybe the guy didn’t mean anything by it. Poor guy and his poor friends. They had put in their time to fight fires, rescue kittens from trees, and treat patients in ambulances. A whole team of them blocked off the path, standing solid; they were imposing, they were equipped. But they weren’t ready.

We swarmed like zombies on a brain buffet. There were a few dozen of us, determined to push forward and find the rockets. RocketCon had forbidden real weapons and set size restrictions for replicas, but blunted metal, foam and wood could do plenty of damage against an unsuspecting target. One six-foot Arsenic Knight swept away batons with the Moondust Blade from the Spaceship Grease franchise, while an anatomically correct Slime Turtle cosplayer rammed against bodies and made them rattle. The 3D-printed shell cracked after the cosplayer side-swept screaming the yellow suits.

They fought back. Of course they did. They’d never say it, but keeping us from the rockets was what they were here for. Some tried spraying us with a hose. Cosplayers dressed in long trench coats toppled to the ground and struggled to get to their feet.

And me? I only had two legs, my phone, and a Donita Inferno cosplay, having packed everything else away in the car. So I couldn’t ram a weapon or a silvery satin outfit against the helmeted sentinels. All I could do was move forward and not lose my nerve. One step, then another. Don’t scratch that bug bite. Ignore the sharp pain and blood running down your cheek. Keep standing.

More sounds drowned out our protests. We looked ahead, and even the firefighters twisted their necks as they tried to hold us back. The rocket landed on the grass ahead of the cars, sparks flying, threatening a blaze. It was bright orange, a replica of the Infernos ship from the movie.

The next effect also came directly from the movie: uniformed men launched into the air. One minute they were spraying the crowd, the next, they were catapulted into the rail-thin trees. The screams were glorious.

We started running, those of us still standing. Not running⁠—sprinting with bloodshot eyes and excitement. The dreams had come to us, promising the truth after years of pining. And I am sorry if I trampled the firefighter whose megaphone sailed into the air and crashed onto the pavement, but I’m not sorry about tearing through the caution tape like it was tissue paper.

The house appeared as it did in the original movie, not in the reboot trailer: drooping shingles and dusty glass windows with cobwebs as decoration.

If the rockets hadn’t drowned us out, we would have cheered. Instead, we ran forward, sweat running down our faces. I didn’t know what we would find in the house or on the orange rocket, but a part of me didn’t care. The Infernos were on that ship. And they would have to take me. Because unlike Donita, or Celestia, I wanted to be the hero, burns and all.


© 2025 by Priya Sridhar

3585 words

Author’s Note: I was dreaming about being a kid hero. But not someone who jumps into the fray. Instead, this girl was kidnapped by telekinetic vigilantes planning to hijack a space launch. When I woke up, it was one of the few vivid dreams I was able to write down and make coherent. But there’s another part to this story: it got me thinking about the many fics I saw in one fandom, where a female OC was kidnapped and brought to the copyrighted world, because she had special powers and was different. There was a catharsis in being wanted by bad people because you are special. But it’s a double-edged sword, especially when considering how a scenario like that would play out in real life. Media raised me. I watched PBS and anything available on public television since we didn’t get satellite TV until 2005, after Hurricane Katrina. But I’ve been disillusioned by just how much so-called family-friendly media comes from exploiting underage actors. It’s not always the case, and I hope Spy Kids avoids that disillusionment. But while attending Chicago WorldCon in 2022, I listened to Jennette McCurdy’s memoir I’m Glad My Mom Died. She explained how Nickelodeon creator and director Dan Schneider, known as the Creator, fostered and enabled a culture of child abuse. McCurdy’s stage mom certainly didn’t help with her emotional and psychological abuse, but she stopped being proud of the work she did on iCarly and Sam & Cat because it was tainted by the lack of freedom on-set and off. Quiet on Set and YouTube brought out more tea about the powerhouse, and Will Wheaton released his essay about how working on The Curse broke his film career and probably damaged his relationship with his parents beyond repair. It’s a feature, not a bug, that kids get hurt creating franchises that people come to love. This story is me thinking about this contradiction, how what inspired me to create has hurt others. And how do we deal with that while wanting to escape our less-than-ideal situations.

A 2016 MBA graduate and published author, Priya Sridhar has been writing fantasy and science fiction for fifteen years and counting. Her series Powered is published by Capstone Press. Priya lives in Miami, Florida with her family.


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DP FICTION #130A: “Our Lady of the Elevator” by Shiwei Zhou

edited by Hal Y. Zhang

Content note (click for details) Child neglect, body horror

When Mama still isn’t back by morning, I leave our apartment on the twelfth floor and head for the elevator landing. Before I go, I check that my face is clean. I wet my fingers in the faucet and pat down the tuft of hair that sticks up in the back. I wrap a bandage around my index finger where I cut it this morning trying to clean up the broken glass.

I am not scared to be home by myself. I am ten now, a big girl. Like Mama says whenever I get nervous, “Even if your head gets chopped off, the wound is no bigger than the mouth of a bowl.” I think she means that, whatever happens, there’s no reason to panic. Anyway, I like the elevator; it is small and closed and feels like being inside a warm hug.

I hit the down button and wait. The elevator doors open with a creak. I say hello to Ahyi—auntie—our elevator operator. She nods to me. She doesn’t have to ask which floor; she knows I just like to ride the elevator up and down.

Ahyi sits on her narrow wicker stool with the fibers starting to loosen at the corners. There is a pile of newspapers in the corner, and a closed jar of hot water with tea steeping in it, leaves gone pale green-yellow, so swollen they fill half the jar, swaying like seagrass. Today she is embroidering on dark gray cloth with silvery-white thread. I see the outlines of three lotus flowers floating on a lake, and the moon above them.

On floor nine we pick up a man with a big box of fruit headed for the lobby. He’s visiting his mom, he says. I wonder what it would be like to eat the pears after taking them out of their sleeves, in the place where he is going.

Ahyi lets me press the button for the lobby. We drop him off and pick up two old women coming back from their morning shopping, yellow tarp bags bulging. They ask me where my Mama and Baba are, and Ahyi tells them I’m learning how to operate the elevator and they all laugh. I imagine what it’s like to live with them—nice, but nosy, caring about you and always getting in your way, the apartment filled with the smell of cleaning solution and mothballs.

Once I told Mama I wanted to grow up and be an elevator lady. It made Mama so angry, she yelled at me, saying that Ahyi wasn’t cut out for anything useful, and that I should learn how not to be like her. But I think Ahyi must be important; she makes sure people get to the floor they want, that they stay clear of the doors. The doors are dangerous. Mama told me that she heard of someone who got their head stuck in the elevator doors and it got chopped right off.

It happens after the old ladies get out on the sixth floor. The elevator starts going down, then there is a jolt, a weird up-side-down feeling in my stomach while we fall just a little bit, then bounce to a stop with a double bump-bump. The lights flicker.

The doors won’t open when Ahyi presses the button, but she doesn’t look worried. This is not the first time, she says, then rings the buzzer and I hear it somewhere far down, like at the bottom of a well. I am not scared either, or maybe just a little scared, but only that I might have to pee while I’m still stuck here, or from the dizzy feeling I get thinking about how we are still six floors up.

I use the time to hand Ahyi her water jar, and she sips after blowing to clear the tea leaves. Helping calms me. I am a good helper at home, too. I notice when Baba needs something even before he does. He called me his little dog, though I don’t think dogs open beer cans and change the channel and adjust the fan and move the antennae on top of the TV just right so he can watch the soccer game. When I’m helpful, he talks to me about being on the ship, about places I’ve never been to, about crooks and tough guys that I’ve never met. He protects us from all that, he says, but I think I’d like to go and see those places too and meet those people. I also know this: if I am helping him, he can’t get mad at me, not the way he does Mama.

I try to help Mama, but she does everything herself. She can take the skin off an apple with a sharp little knife, so it all comes off in one big circle thin enough it looks like actual skin. She embroiders peonies on all our pillows. Her hair is never out of sorts.

The only thing Mama can’t do is open jars. Last night she rinsed the lid under the hot water for a minute, then five minutes, and then when it still didn’t open, she slammed the jar against the counter until the glass broke and the pickled radishes splashed on the floor with chunks of glass and then she left. She didn’t come back all night and now it is the morning after she broke the jar, and I am in the elevator because I think I will see her sooner, but not if we are stuck.

At home, Baba is the one who opens jars, but he’s still at sea. This time, he has been away much longer than the other times; I heard Mama talking about it, saying the name of his ship, and his name, and dates quietly and urgently in the other room on the phone.

Now Ahyi asks me to thread a tiny needle with the fine silvery thread. My cut finger throbs when I pinch the thread, but I do it anyway.

What I really want is to live with Ahyi. I imagine that she lives in a tiny little house, with rooms as small as the elevator, and there is nowhere to hide any secrets, no room to have whispered conversations. There is only quiet and calm.

Something bangs on the outside of the elevator doors. I jump. The noise is big, like we are inside a drum.

A man’s voice is telling us he’s here to fix the elevator. He asks us to pull open the inside doors.

“You’re a strong girl,” Ahyi says, “use your muscles.”

I tiptoe to the door. The gap between the inside doors is larger than I thought, big enough to wedge the tips of my fingers in and then pull. I try three times, then the door on the left budges, just a little.

Behind it, where there should be the metal of the outer doors, there is a darkness, black as the middle of the night when I open my eyes and hear my parents talk, low and angry, when they think I’m asleep. The darkness seems to suck color out of the inside of the elevator, so everything turns gray. The moon on Ahyi’s embroidery glows. There is a warmth, and a bad smell, like a big mouth is slowly exhaling into my face.

I stop pulling at the door. It feels wrong, like I am looking through a seam to the darkness outside the world. I still sleep with a light on, even though I’m a big girl, but this is not the darkness at bedtime. It’s like there is a tiger in the darkness and it can see me, but I can’t see it. I can only feel its warmth and feel its breath.

With a creak the outer door of the elevator opens, and I see a hand and then the head of the repairman. He puts both his feet and legs into the elevator, and then jumps in, shaking the cabin. He pulls his toolbox in after him, setting it on the floor.

He wears dark gray pants and a white sleeveless shirt that needs a wash underneath a button up short sleeve. I smell sweat, beer, rotten teeth; it makes me think of Baba. He even looks like Baba, with his short buzz of hair, the deep creases around his mouth, and even the grime around his neck that Mama was always asking him to wash clean. The repairman greets us then turns and scratches the side of his neck. His thumbnail is thick and yellow, much longer than the rest of his nails, which are cut so short they look like they hurt.

He must fix something on the track, he says. The inner doors aren’t opening and closing with the outer, and it’s jammed. He pulls the outer elevator doors shut, leaving the inner open.

The Darkness is still there, but now it looks different, swirling like an oil slick, bubbling up into little points. It fills the tracks where doors run, it runs over and dribbles into the elevator cabin. I stumble back and knock against the side of the cabin, and it rings like a gong, and it feels like the car swings back and forth. I catch Ahyi’s eye—and she shakes her head at me.

I am not scared. If I get scared, maybe the elevator will fall, and we all die. If I get scared and tell someone how long Mama has been gone, maybe they’ll send me away, and then who will take care of her when she gets back? I am not scared. I am ten now, a big girl. Besides, even when your head gets chopped off, the wound is no bigger than the mouth of a bowl.

The man’s forearms shine with sweat as he digs at something in the track. He scratches at his neck again, long thumbnail grazing under the skin, and the Darkness seeps from his fingers into the line around his neck, where it runs fast across like water in a channel. His fingers come away stained with something dark and curdled like bad milk.

I gasp, but Ahyi puts a finger on her lips, and I try to swallow my surprise. Aloud she says to the repairman, “Thank you so much for coming to help us.”

I nod to her and keep quiet. He is the only one who can fix the elevator. But maybe if I told him he was hurt, or injured, he would notice too, and we would all be trapped in here forever.

We both watch the repairman, who keeps scraping something metal against the bottom of the track, and the dark clot on his hands mixes with the darkness in the tracks. The scratch on his neck is deeper now, even though he is no longer touching it, as if the darkness there has kept going, deeper into his body.

It happens suddenly when he braces his head against the inside of the elevator door.

The head tips on his neck, backwards, towards me. The man makes a sound—a gasp—then his body topples forward, and his head slides back a little more. The head falls off his shoulders, hitting his right leg on its way down before ringing on the floor and finally rolls to rest against the back left corner, facing me.

I think I hear the head gasping, but maybe it’s just the whooshing noise in my ears. I think of Baba again, passed out on the couch, lit cigarette burning a hole into his pants, something spilled on the floor. Sometimes I think he is dead when I find him like that, but he is never dead.

I look at Ahyi. In the gray light her face is different, she seems older.

“I have to help him,” I tell her, like I told Mama the last time Baba was home.

I walk toward the head.

Then it seems as if the elevator is much longer, and rows and rows of heads appear on both sides of me. Most of the heads are men, without any expression. They don’t even look real but like plastic masks. Many of them look like my Baba. There is one that looks the most like him, the time he came back from the sea and was tan and had a bruise on his cheek. Its mouth moves, and it is looking at me, trying to speak to me. I think about taking that head and fitting it to the repairman’s body. Maybe it means I can have Baba back again.

Mama told me Baba was still at sea, but I know she’s lying. He isn’t coming back. He wasn’t all bad, not really. He was nice to me and got me gifts and we laughed and had good times. Baba had a good laugh. And when he decides you’re his friend, you feel like everything is going to work out great. He was like one of those little gods we saw at the temple with four faces, three of them mad and one happy. When he was happy, Mama was happy, so I was happy.

But Baba should not take this man’s body; he can’t fix an elevator.

I walk to his head, “I’m sorry Baba,” I tell him, “this is not your body. I have to pick the right head.”

Then I am in the corner of the elevator, and there is just the repairman’s head on the floor. I pick it up with the tips of my fingers, feeling his cold rubbery ears. I look at the edge where the neck is separated from this body—there is no blood, just the line of grime, like oil, all around the wound.

I walk the head, with its squishy cheeks with the stubble, back to the body. The wound is no bigger than the mouth of a bowl, just like Mama says, and there is a spot where the head fits, like a plug into the socket, so I stick it there. But it doesn’t want to stay, and the moment I take my hands away the head almost topples again. Finally, I take the head off and lean it against the wall.

When I look over to Ahyi, she still hasn’t moved. She tilts her head at me, like she is waiting for something.

“May I borrow your needle and thread?” I ask.

She smiles.

“You will need your own,” she says. From the edge of her shirt, she pulls out a silver needle, curved like a fishing hook. She opens her other hand and shows me a spool of red thread.

The needle is heavy and cold. The eye of the needle is very small, but I thread it.

“Good girl,” says Ahyi. Then she pulls the red thread through the needle until it is doubled on itself, and ties two dead knots at the end. I walk to the head, picking it up, setting it on the body. I pick a place under the right ear to start so I am not looking at his face.

I push the needle through the skin, and I bring it back out. I pretend it is cloth. The needle catches on the darkness around the wound, and it twists around the red thread and seeps out and I get it on my fingers. Sometimes the flesh is rubbery, stretchy. Other times it is hard to push the needle through, or there are things under the skin that I only feel with the needle, both crunchy and mushy soft. The head is cold under my hands, but I am sweating.

It’s only after I wipe the sweat away with the back of my sewing hand that I realize I wiped some of the darkness on my right eye. I freeze. It tingles and burns and for a minute. My eye is full of tears, and I wait for something bad to happen, for my eye to pop out of my head. I hold my hands very still in my lap, so I don’t accidentally get more on my face again.

Eventually my eye stops watering. I blink and blink, until I can see again.

When I look up, Ahyi looks different. Older, very old even, but kind and beautiful, like a great Lady, like the statues of the goddess at the temple. She is dressed in fine clothes; her tunic is stiff with gold thread stitching; her neck and her wrists are laden with jewels.

From one of her pockets, Ahyi—the Lady—takes out a pack of tissues and gives a piece to me. I wipe at my hand and my eye. Then she gives me another piece of tissue and I wipe the man’s neck until the darkness is gone. Then the Lady gestures at me with her fingers. “Go on,” she says.

I start sewing again. When I work my way to the front of the body, I see the mouth open, the pale gray tongue, and smell a cold wet smell, but I keep going. It takes a lot of stitches to sew a neck back on, even though my stitches are not fancy.

I feel the warmth in the skin under my hands when I tie off my knot. The repairman’s eyes open. He looks at me, and his face is not like melted plastic or like my Baba’s face.

“Can you fix the elevator, please?” I ask him. “And don’t scratch your neck anymore.”

He nods. Then he gets up, coughs, pats himself as if to get used to his body, and starts working on the elevator again.

I hold out the needle for the Lady, but she shakes her head, so I work the needle’s point through the fabric at the bottom of my shirt, in and out again until it is fastened at the edge of my shirt, where it looks like a pattern, a sliver of the moon, or a silverfish. The spool of red thread I put in my pocket.

The repairman makes progress. The inside doors are moving in sync with the outside ones. The darkness is still there, but he doesn’t touch it this time. Once I see the man’s hand creeping up toward his neck, where the big scar and the row of stitches are hidden under his collar, but he moves it away before he can scratch.

He pushes the button, and this time, the elevator works. We all go down, down, down.

In the lobby the bell dings and the repairman walks out, holding his box of tools. He does not look back.

In the daylight, the Lady looks even more beautiful, and I don’t know why the security guard in the lobby doesn’t see it, why no one else sees it.

Then I hear the familiar steps, clip, clop, coming through the doors.

Mama wears a thin coat with no scarf. Her hair is messy, her face red. Her eyes go wide when she sees me, and she frowns, but when she enters the elevator and pats the back of my head where my hair stands up, her hand is gentle.

She says, “Have you come to look for me?” and her voice is sad, not angry. She smells like cigarettes.

“I want to go home,” I tell her. Mama reaches out and takes hold of my hand.

The Lady presses the button for our floor.

As the elevator doors close, I look at our joined hands, and I see a line, running up the middle of Mama’s wrist up into her shirt until it appears at the base of her neck, a lone pale gape, like the gills of a dead fish.

Then I see too, the cut on my own hand, snaking out of the bandage down my finger, curving through the meat of my palm.

I understand it now: the cut on my finger, the slice running up her arm. Her hand holds my hand, and we are the same; the sharpness of life carves us both.

I reach down and gently touch the silver needle at the edge of my shirt.


© 2025 by Shiwei Zhou

3363 words

Shiwei Zhou is a Chinese-American writer of speculative fiction; her short stories can be found in Asimov’s and khōréō. She lives in the Midwest with her family and a golden retriever named Mango.


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