#that one stupid image of a batfish

[necronamicode]

Me: Oh man pasta is really good but I wish I could add other foods to the middle for more flavor

The reliable ravioli:

[mindfulwrath]

Onward

A BuzzFeed Unsolved Fanfic

A spirit can only move on when it has completed its unfinished business.

Or, it can't, because ghosts aren't real.

Words: 4,922 Warnings: Blood & gore, major character death Additional tags: Angst with a happy ending, character turned into a ghost, platonic Shane & Ryan

AO3 Link

"It's really kinda nice up here, don't you think?" Shane says, looking out over the vast moorlands. Moonlight glimmers off of brackish water, casts soft shadows across lumps of heather and gorse.

"You're insane," Ryan spits.

"What? You don't think it's nice? Just look at this view! It's lovely."

"It's creepy as fuck, aaaaaaand you're crazy."

"Okay, well have fun looking for ghosts while I'm enjoying the beautiful Scottish countryside."

"Yeah, thanks, I will," Ryan says under his breath, shaking his head. He raises his voice and speaks for the cameras. "Okay, so, here we are up on the battlements of Crathes Castle, uh, Shane is admiring the scenery, but we are hopefully gonna see something much more interesting. Now, the curator told us there'd been some restoration ongoing up here, so uh, watch your step, 'cuz . . . oh boy."

"We are pretty high up," says Shane, sticking his neck out to look over the parapet. Far below, there's a pale square of concrete, some outbuilding being redone after falling over. It's about the size of a postage stamp from this perspective.

"And when Shane's saying that, you know it's high."

"Hah-hah, the height jokes! Fruit so low-hanging, even you can reach it."

"Yep, sure, that's about what I expected from you. Anyway, let's see if we can find some ghosts."

"You do that, I'm just gonna hang out here and watch."

"Yeah, good, stay out of my way," says Ryan.

Shane spares a glance over his shoulder at the camera. He shakes his head. As Ryan starts up his customary shouting-at-nothing, Shane puts his elbows up on the parapet and leans back, settling in for the show.

Stone grinds on crumbling masonry. Ryan yelps. Shane flails at empty air.

"Whoah, fuck—"

There's no scream. There's a horrible, plunging sickness, and an instant of perfect clarity.

The second-to-last thing that goes through Shane's head is, Wouldn't it be ironic if—

The last thing is a four-foot piece of rebar.

It isn't surprising that the universe has a cruel sense of humor. That's been made evident since the dawn of time, in things like rosy-lipped batfish and mass-extinctions and the invention of capitalism. The Homers and Ovids of the world, the Shakespeares and Edgar Allen Poes, they might actually have gotten things kind of almost right—at least in that whoever's running things, they're 1. a poet, and 2. a bastard.

It is somewhat surprising to look down at his own dead body.

"Son of a bitch," he says.

His body settles, dripping blood. There's a lot of blood, and a lot of him is broken—shattered, really. A noise draws his attention upward, a shout and clamor. Shane can't make out what it is. The sound is distorted, and now that he's paying attention, everything else is, too. It's like a dreamscape, like someone took dozens of photographs over decades of time, printed them on transparencies and overlaid them. If he concentrates, he can pick out individual images and bring them to the forefront.

Something moves in the doorway. Shane can't quite focus on it. He shakes his head and rubs his eyes. He's not sure, but he thinks he can hear screaming, and it stirs something in him and he doesn't like it. Fortunately, it goes away pretty quickly, and silence falls again.

"Well?" he calls out. "What now?"

The world does not answer.

"Do I have to stay here, or can I, like, go? Can I just go? 'Cuz uh, gotta tell you, I'm not really into the whole ghost-thing!"

Still, nothing. The distant sound of sirens drifts on the breeze. He looks down at his body and folds his arms.

"Oh, shit, I could go to my own funeral," he realizes. "Boy, that'd be a trip, huh?"

All's quiet on the moors, save for the approaching sirens. Shane glances over his shoulder. Out of curiosity, he wanders back to the camera crew. The bright lights leave the world in a haze, illuminating a sea of phantasmal cars, buses, carriages, horses, people. It's hard to focus on the ones that are here now, so much so that it gives Shane a killer headache.

Or maybe that's just the lingering memory of the rebar going through his skull. Could be either.

He finds Ryan huddled up in the back of the equipment van, a blanket around his shoulders and about six people clustered around him. He's shaking like crazy, his eyes wide and wild, and he's . . . he's. . . .

Sobbing.

He's explaining, to the crew, what happened. The words are a jumbled mess. Tears stream down his face. They're trying to comfort him, but they all look just as shell-shocked and sickened and scared. Somebody calls Ryan's girlfriend for him. Somebody else is on the phone with corporate, and someone's still talking to the emergency dispatcher, and Ryan—and Ryan is crying so hard he can't breathe. . . .

Shane backs away, slowly. He goes back to the shattered wreck of his own body, sits down on a chunk of stone that might have been dragged off two hundred years ago. It's less disturbing than the scene back at the van.

"Man, I look like a really fucked-up unicorn," he remarks. "I got brains comin' out the back of my head! That's no good!"

Nobody answers. Blue and red flashing lights crest the hill. Shane sighs and hangs his head.

"And here's me, talking to air again," he mutters. "Okay. So uh—here's what I'm gonna do. I'm gonna leave. I'm gonna go do . . . other stuff. And not watch them take my body outta here, 'cuz that's gonna be gross. Eugh."

And he's not going to attend his own funeral, either, he decides, as he wanders down the hill away from the castle. He'd kind of assumed everybody else would be as cool with him dying as he was, that it would be no big deal, that it would be sad, but overall just another Thing That Happens. He doesn't want to see Ryan cry again. He doesn't want to see any of his other coworkers cry, either, his friends, or—God forbid—his parents. He doesn't want to be mourned.

It occurs to him about an hour later, as he's slogging through a thousand years of Scottish fen.

He is in an absolutely unique position to find out exactly where, and how many times, Ryan was wrong.

It's hard to gauge the passage of time, but it's probably been a few years, and Shane has learned something very important about ghosts: they don't happen where—or to whom—popular opinion had it.

The big places, the asylums and castles and manors, they're quiet, they're empty. Taverns can be a little bit more populous, although they really aren't any fun.  Nobody's having a good time in this part of the afterlife, and most people are alone. He almost never sees anyone with a friend, and never a group of more than three. He's really hoping he never runs into anybody he knows, for . . . lots of reasons.

It's the mundane places that are really teeming, the streetcorners and back-alleys, the factories, the wilderness. And it's not the big people, either—not the mobsters and judges and doctors, but the urchins, the servants, the prostitutes, forgotten in life and forgotten in death. He made it back to America eventually, and the horrors that soaked the earth there made him sick. Not a square inch of all that once-beautiful land was free of blood. In places, it's like the earth itself has died. In places, he can see its ghosts, too.

One place he finds Ryan was right about is Salem.

There's an old house, well-kept, slightly more there than most other structures he finds, although he's sure he never saw it when he was alive. He climbs the steps. An old Black woman sits by the fire.

"Are you Tituba?" he asks. It's a stupid thing to say, but he hasn't said much in a long time. Most of the other ghosts don't like talking to him. For a minute, he thinks Tituba won't, either.

"I remember you," she says. "You were very rude."

"I guess I was," says Shane. "Uh . . . sorry."

She rocks her chair. The fire crackles, although it makes no warmth.

"Can I ask you something?" he says.

"If you want to know the answer."

"Why are you still here? Why haven't you gone . . . wherever dead people go?"

"I'm waiting," she says.

"For what?"

A shrug is all he gets.

"Well . . . good luck, I guess," he says. "I hope it comes to you, whatever it is."

He asks around a little more after that, although people who will talk to him are few and far between. Why are some of us here? It's obviously not everyone. Why are you here?

And he gets the same answer.

I'm waiting.

Time has passed. Shane's more well-traveled than he's ever been, but there's still a strange restlessness in him. Something, he feels, needs to be done, but he'll be damned if he knows what it is. It gets so bad that at one point he risks going to visit his own grave.

It's nice. The tombstone is nice. There's no epitaph, which is about what he wanted. Somebody's left flowers, although they're plastic.

"Kitchy," he says to no one. "Get that shit outta here."

"Plastic?"

Shane starts. There's another man, very old, loitering at a nearby grave. It's the first time someone's struck up a conversation with him, instead of the other way around.

"Uh . . . yeah," he says. The old man shakes his head.

"Kind gesture, but it does feel cheap, doesn't it."

"I guess."

"I always told them not to put plastic flowers on my grave, but some damn fool's done it anyway."

"Sucks. I'm sorry."

He shrugs. "No point in getting upset about it now. Say, do you know when the chariots or what-have-you come down?"

"I don't," Shane admits. "I've never seen 'em."

"Ah, what a shame. I'll wait, then. It's not like I have anything else to do."

"Right?" he says, chuckling, shaking his head.

Between one moment and the next, the old man disappears, like smoke, like fog. There's not even a shadow of him left, not in all the layers of history painted across the world.

Even without a choir of angels, or a blast of Hellfire, it's pretty obvious what just happened. Maybe neither of those things exist to happen, and the vanishing is all there is, after this.

Shane looks down at the flowers on his grave. He takes a deep breath.

"Okay," he says. "All right. I get it."

It's going to take a while to get to L.A., but he's got time.

Ryan's actually kind of doing okay. That's a pretty firm marker on how long Shane's been gone. Incredibly, he's still doing Unsolved, even the paranormal stuff. He's got a new guy working with him, too, although they're a little stilted and they have difficulty making each other laugh, even for the cameras. They seem like they're getting along okay, though. Ryan's definitely chilled out a lot since the last time Shane saw him. He's rusty on the ghost hunting.

It takes a while, takes a lot of following and waiting, but eventually Shane gets the chance to tag along on a trip.

"Man, this brings back some memories, huh," he says, meandering along behind Ryan as he creeps through some abandoned, burnt-out warehouse. "Look at you, though! You grew a big ol' spine since the last time I saw you."

Ryan doesn't respond, because of course he doesn't. He's looked right through Shane a dozen times already. Shane's not too bothered by it. Nobody's seen him in years.

The hunt goes like it always goes. Eventually Ryan and the new guy split up. The new guy goes first.

"This is so dumb," he mutters to the camera, stuffing his hands in his pockets.

"Right?" says Shane. He shakes his head. "Hey, take a little nap, buddy. It's nice! Nice little break from all the craziness."

The guy waits out his five minutes. Shane hangs out. Ryan comes in, trades some banter with the new guy, and is left alone.

Something about the way he moves makes Shane's mind come into sharper focus. The layered blur of the world grows clear in the darkness when Ryan turns out his flashlight.

"Oh, man," he whispers. "Okay. I'm getting chills already. Shit. Shi-hi-hit. No, I'm okay, I'm okay. I'm a big boy. I got my big boy pants on."

"Calm down, big boy, nobody's gonna hurt you," says Shane, rolling his eyes.

But something in him hurts. Something aches. He hasn't felt a damn thing in years, but suddenly, now, it's almost like being alive again. It's almost like he wants something again.

"All right," Ryan says, raising his voice. "So, uh, if there's anybody here with me, uh, my name is Ryan Bergara, I'm a—a paranormal investigator."

"Oh, huh, are you? Is that what you're calling it these days?" says Shane, folding his arms.

"Um . . . if there's anyone here, can you make a noise?"

"No, Ryan, I can't make a noise, because I'm a ghost, and I can't interact with the material world, ya big dummy. I'm made of ectoplasm, or—electromagnetism, or something, I don't actually know. But it doesn't touch stuff! Sometimes if I concentrate real hard, I can walk through walls!"

Ryan just stands and listens. His head swivels back and forth like a radar dish. His eyes are wide and bright. He swallows. He waits, and waits, and waits.

"Okay," he says to himself. "Okay, okay, that's fine, that's okay. Uh—okay, so if there's anybody here, uh, I'm gonna get out this little, uh, this little device. It's called a spirit-box."

"Oh, for crying out loud," Shane sighs, except that the heart he doesn't have anymore is suddenly up in his throat. "It's not gonna tell you anything. It's baloney."

Ryan takes it out and sets it down gingerly on the table, his breaths coming quick and panicky. "And, if you wanna talk to me, you can use this, okay?"

"What—how?" Shane cries. "How am I supposed to do anything with that hokey box?"

"So I'm gonna . . . turn this on, and you should be able to talk to me, through it. Okay, here we go."

The box squeals, then launches into its randomized chirping. Ryan gulps, his eyes flicking around the room. Shane kicks at the table the box sits on. His foot hits something, but Ryan doesn't react, so it probably wasn't the table-as-it-is he kicked, but the shadow of some past version from ten or twenty years ago.

"Okay, so . . . if there's anybody here with me, my name's Ryan. Can you say my name back to me?"

"Of course I can't, the stupid box doesn't do anything."

Ryan stands in silence, listening, listening. A squawk of static comes out of the box.

"What was that?" he says. "Can you say that again?"

"I said your stupid box doesn't do anything."

Choppy white noise, blips of music and talk shows and nothing.

"If there's somebody here with me, can you make a noise?" Ryan asks.

"No! I can't! Because I'm a ghost, you idiot!"

Ost oop it, goes the box. Ryan stiffens.

"What was that? Did you say something?"

"I did, but I didn't say it through your stupid box, which is fuckin' useless!"

Useless.

Ryan pales. His eyes go wide. His breath comes short. "Ohhhh man, okay. Okay. I'm freakin' out a little now. You—Eustice? Is that—is that your name? Eustice?"

Shane's too blind-sided to call him an idiot again. He seizes the spirit box and shakes it. It's like trying to shift a boulder. His voice cracks as he shouts.

"No! No, it's Shane, it's Shane Madej, tell him, tell him it's me!"

Eh ih-ih ee.

"I don't know what that was, I—I'm sorry. Could you repeat that, Eustice?"

"Shane! It's Shane! Ryan, come on, man!"

Chk chk chk chk shh sht cht chk.

"Okay, fuck this, I'm done," says Ryan, reaching for the box. "That's all, bye Eustice, we're done!"

In absolute, idiotic desperation, Shane screams, "Spaghetti!"

Spa-ghet-ti.

Ryan freezes.

"What did you just say?" he whispers.

"Spaghetti! Apple tater!"

Ap-ah t-t-r.

He's shaking so hard his hand blurs over the spirit-box. His breath mists in front of his face. There are tears in his eyes.

"Did you just say . . . apple tater?"

"Yes! I did, yes! Ryan, it's me! Come on, you stupid box, tell him it's me!"

Stih-up-p-p box.

All the blood drains from Ryan's face. He stops breathing. When he blinks, the tears slip out. When he speaks, it barely makes a sound, but Shane feels it, feels it like a punch to the chest, like a struck bell.

Shane?

The only thing he can do is shout, whoop at the top of his lungs and jump in the air. The spirit-box lets out an ungodly wail, and in an instant, Ryan slaps it off the table, screaming.

It smashes on the floor. The room goes silent.

"No," Ryan says, choked up. "Nope, no no no, fuck this, fuck it, I'm out, I'm done! Fuck everything about this!"

He beelines for the door, his knees wobbling. He's just a hair shy of a full-on sprint.

"Where are you going?" Shane demands, hurrying after him. "Hey, no, don't leave! You—you fraidy cat! Ryan! Ryan!"

But he's out of there, back to the noise and bright lights of the camera crew, where the world becomes less real, where Shane's head gets fuzzy and his focus scatters. He retreats back to the shadows, a sudden exhaustion overtaking him.

"Okay," he says to himself. "It's okay. First try's always gonna be . . . messy. And Ryan's an idiot, so—yeah. So yeah. Just gotta keep—keep on keepin' on, Shane. Chin up, buddy. We'll get there."

So of course, because the universe is a poet and a bastard, Ryan does the one thing Shane could never have predicted.

He gives up ghost-hunting.

Quits his job at BuzzFeed, in fact, and moves up north to the Klamaths, and lands a nice little job teaching film and creative writing at a community college. His girlfriend—now wife, apparently—doesn't comment on the fact that they have a night-light in the bedroom. They've probably already talked about it. Shane doesn't like it, the smug little bluebird shitfish, but he leaves it be. Some things are sacred, inviolable.

Anyway, he's got time.

Ryan's daughter first sees him when she turns three.

"Daddy Daddy!" she cries, barreling into his room at ass o'clock in the morning. "Daddy, there's a tall man in my room!"

"What?" he mumbles.

"A tall man, I saw him!"

Ryan comes to check. He turns the lights on. He looks right through Shane a dozen times as he searches the closet and under the bed and behind the lamp and everywhere.

"There's nobody here, sweetie," he says. "Go back to sleep, okay?"

"Okay," she says.

He kisses her head and clicks the light back out. Shane follows him through the door, because—well, it's kind of weird, hanging out in a three-year-old's room. He was just a little spellbound at first, because it was Ryan's kid, and that's a bizarre thought even when he's looking right at it. But staying would be weird, so he doesn't stay.

But he does come back.

It's not like he's haunting Ryan, no, that's not what it's about. He mostly keeps to himself and doesn't bother anyone, but the kid is weirdly good at spotting him, and there's something about being seen that makes him feel . . . good? Important? Less dead and miserable and alone?

Daddy Daddy, the tall man came back. Daddy Daddy, I saw him by my closet. Daddy Daddy, he came to my tea party. Daddy Daddy, he moved my book!

Which, yes, he did, as ludicrous as it was. For lack of anything better to do with his time. If he focuses as hard as he can and pushes with all his might, sometimes, just a little bit, he can move things. Like a child's book, or a doll's hand, or maybe a door if the hinges are well-oiled. He tries not to do it when anybody's home, but he can't always tell. The kid's too good at seeing him, too, but at least she isn't scared. He tries to make sure she knows he's not there to hurt anybody, and although he's pretty sure she can't hear him, she seems to have gotten the message.

Ryan, maybe, didn't.

He gets more jittery. Lights stay on. There's a marked increase in the amount of religious iconography and (likely) holy water. He spends a lot of time on the computer, drinks a lot of coffee, falls behind on his teaching stuff.

One night, the wife and kid go out, and Ryan stays in. This is weird. Shane sticks around.

Ryan goes up to the kid's room, and he settles into the reading chair by her bed, and he turns out all the lights. The blue glow of his phone illuminates his face. He sits still for a long time, just breathing.

"Shane," he says. His voice shakes. "If you're here right now, could you give me a sign?"

The old desperation seizes him. He slaps the window blinds as hard as he can. They manage a faint, whispering sway. Ryan stiffens, takes a deep breath, lets it out again.

"Okay," he says. "Okay. I—I made this for you. I thought maybe it would help, if you're . . . if you're struggling to move on. I hope it helps you, or . . . something. So here it goes."

Another deep breath. Shane waits, pulled taut with anticipation. Ryan adjusts his glasses and looks down at the phone, and he starts to read.

The alien planet of Tomat-0. A rustbucket of an old spaceship sits on a landing pad, engines primed, ready to launch. A pair of plupples, which are alien fruits that are like plums, but cooler, and blue, carry a charismatic box of fries from the future and a sturdy can of good soup up the loading ramp.

"Plup, plup!" says one of the plupples.

"Plup, plup," the other agrees. Plupples are very stupid. However, unfortunately for our heroes, they are not so stupid that they cannot carry out orders from their dark master.

Shane can't believe his ears. He wanders across the room. Even if he had lungs, he wouldn't be able to breathe. He sits down on the bed near Ryan, pulls up his knees and wraps his arms around them. Ryan reads on.

"Wait just one plupping minute, there!" A voice rings out! The plupples halt. There, coming over the horizon of Tomat-0, a witch-hologram of corn riding upon a giant plupple comes charging to the rescue.

"Plup, plup!"

"Plup, plup, plup!"

The hologram corn, Maizey, arrives. "You put those critically-acclaimed and universally-beloved characters down, you Ewok ripoffs!"

"PLUP," the giant plupple plups in agreement.

"Whoah, hey, uh, whoah!" Garce, one of two intelligent plupples, emerges from the ship. "Hey, uh, wow, corn girl, how did you, uh, escape your deadly trial by combat, which you were sentenced to by the great Dr. Goondis, played by Ryan Steven Bergara?"

"I fought the beast and I won, as you can see, because I am riding it into battle with you little blue freaks. Also I ate Dr. Goondis, because we didn't have the time to cut up more VO files for him, so now he's dead."

"That makes perfect narrative sense, uh, but how did you find us?"

A flash of light, a creaky, cackling voice.

"Pam, Pam, kazam, it was me!" A tiny hotdog, about forty percent bigger than Jiminy Cricket, appears in a flash of witch-light on Maizey's corn shoulder. "I'm doing my part to atone for the evil I did before I died, even though it was totally sick and awesome!"

"That's understandable. But uh, what are you both going to do now?"

Maizey draws herself up tall, tall and proud atop the giant plupple. "We're going to take our friends back from you blue goons. We're going to travel back in time and save my witch-hologram wife, stop Pam from killing the hotdog family, the unbelievably rich and compelling characters of Dan, Rebecca, and Brandon, and creating the Gauntlet of Ultimate Power, or G.U.P.—"

"Gup! Gup! Gup!" plup the plupples.

Shane laughs. He puts a hand over his mouth, like Ryan's going to hear him or something, come over bashful and stop reading. Ryan doesn't hear him, though. He keeps going.

And that, dear listeners, esteemed fans of the Hotdaga, that is what they do. Together, Maizey and Pam, along with the un-drugged Gene and Mike Soup, they rout the plupples. They fix the Minestrone, that marvelous spacecraft, and equip it with the Bernoulli Converter to reach the wormhole in the Graxilon quadrant. Dear fans, they travel back in time, and stop the evil Pam from dumping that delicious party of wedding guests into the lava. By having Pam from the future eat herself. It's totally wicked awesome.

Maizey reunites with her witch-hologram french-fry wife, Gebra. Gene gets the Risky Fixin's band back together, for one last smash hit before the happily ever after you've all been waiting for. And here, my dear friends, here it is.

Music plays. It's stupid. It's the stupidest thing Shane has ever heard, and the production value is shit, and Ryan can't sing worth a damn, either.

For the next two minutes and eighteen seconds, he cries like a baby.

"And that's . . . it," says Ryan. He's crying too. "That's the thrilling conclusion to the Hot Dog Saga, or Hotdaga. It's . . . solved. I hope you—I hope you liked it."

"You nailed it, man," Shane says, choked up. "You got it. You nailed it. Shit, Ryan. Thank you."

Ryan sniffles. He wipes his face. He puts his phone down and sits in the dark.

"I don't wanna sound rude or anything, Shane, but . . . now could you please, please leave my family alone? Like, I miss you, but I just—I can't. I can't do this anymore. I'm sorry, man. I'm so fuckin' sorry for what happened."

"What? No, no no no, what are you talking about? Ryan, it wasn't your fault, Jesus!"

Ryan scrubs at his face, puts his head in his hands.

"Just please . . . please let me—just let me move on, too. I can't do this anymore."

"I—yeah," says Shane, shaken right down to his core, in so much pain he can barely hold himself together. "Yeah. Of course. I'm sorry. I didn't even think about . . . yeah. I'll go. I'll go."

He almost puts a hand on Ryan's shoulder, then thinks better of it. He walks out the door.

He doesn't look back.

About four months before Ryan's eightieth birthday, the Universe catches up with him.

Shane isn't sure how he knows, but he knows. He makes his way back to Crescent City, finds the hospital, the bed. It's bad. It's been bad for a long time.

It's not going to get better.

His daughter is with him that night, when the lights are dim and Shane doesn't have to fight so hard to stay present. She's middle-aged now. It's weird how fast five decades can slip by, when you spend them wandering around doing nothing.

Well, nothing except waiting.

"Sweetie, do you remember the Tall Man?" Ryan asks.

"My imaginary friend?" she asks. "Kinda. Why?"

"I think . . . I see him," says Ryan. "The Tall Man was always nice, wasn't he? He was always nice to you?"

"He was, Daddy. You were the only one who was worried about him."

"Good. Good. Because if he ever wasn't, I'm gonna . . . I'll kick his ass."

She laughs. Shane laughs.

They're stupid last words, but it's okay. He dies in his sleep about three hours later, when his daughter is sleeping, too.

Ryan takes a moment. He looks down at his body. He isn't terribly concerned.

"Huh," he says.

"'Bout sums it up, doesn't it."

Ryan turns, and he sees Shane. Shane waves.

"Hey," he says. "So uh . . . turns out you were right."

You were right.

It rings down through fifty years, reverberating, a struck bell, a punch in the chest.

You were right.

The corner of Ryan's old ghost mouth turns up, and then he smiles a big, wrinkly, toothy smile, and Shane knows, in that moment, that this is what he was waiting for.

"Damn right I was," says Ryan.

"So you uh . . . you got anything you wanna do, before . . . whatever's next?" Shane asks.

"Mm, maybe a couple things. Like, y'know, see all the haunted stuff, if it's actually haunted."

"Yeah, that's cool, that's cool. Pretty much what I did. You uh . . . you mind if I tag along?"

"Mind? No. Wouldn't have it any other way."

"The Ghoul Boys ride again," says Shane, smiling, even as he feels something begin to dissolve within him.

"Hell yeah," says Ryan.

He sticks out a hand, old and weathered. Shane shakes it. Ryan pulls him in and hugs him, so tight it threatens to pop him like a bubble.

"I'm sorry, Shane," he whispers. "I'm sorry."

Shane hugs him back.

"It wasn't your fault," he says. "It's okay."

From one moment to the next, with no choir of angels and no Hellfire—

In a flash of white—

They go onward.