us, Abigail.
“Next morning at our local coffee house, Emmett saw a poster for a paranormal-photography slide show. We didn’t even know there was such a thing, but having just had our experience with Ty, we felt this conviction to go. Unfortunately, the photographer we went to see was a fraud. I could tell that right away. Most people who claim to be psychic are delusional. The stuff they shoot, it’s camera malfunctions, flash problems, dust particles on the film. But Emmett and I were inspired to buy a camera. We shot four rolls in our room that night—infrared film in total darkness. In the corner above our bed, we captured this fantastic pool of light, like this energy was watching over us as we slept.”
“Your son.”
“Emmett and I had always been artists. It’s why we lived in San Francisco. We threw ourselves into paranormal photography, never looked back. And it’s such a beautiful medium—a perfect intersection of art and history and service.”
“What do you mean by ‘service’?”
“See, it isn’t just about taking photographs of paranormal activity for the aesthetic value. These are suffering spirits who, for whatever reason, haven’t passed to the other side. Most important part of our job is helping them move on. It’s not about the thrills for us, or ‘ghost-busting.’ It’s our calling. If Ty hadn’t died, we probably never would have come down this road. Isn’t it beautiful and sad how these things work out?”
June placed something in Abigail’s hand—a small plastic cylinder.
“What’s this?”
“Emmett shot a roll of film on the hike in.”
“Of me?”
“Of you and Lawrence.”
“Well, that’s . . . Thank you, but to be honest, I don’t know that I want this.”
June squeezed her hands. “Do as you see fit.”
When Emmett finished shooting the Curtice homestead, the party moved on, six pairs of boots brushing through dry autumn weeds. They came down a slope, Abigail feeling guilty, convinced the death of the Tozers’ son had turned them out of their minds, yet knowing their story would make the heartbreaking core of her article.
Shapes took form out of the fog. They stood in the grassy lane, Abandon’s ramshackle buildings on either side, tendrils of mist drifting among them through the blaring silence.
“Let’s start in the saloon,” Emmett said, and Lawrence led them across the street, hopped over a few planks—all that remained of the sidewalk—and stepped gingerly into the shack.
“I haven’t been in here in awhile,” he said, “so I’m not sure how sturdy everything is. We’d better just start with the Tozers going in.”
Emmett and June joined Lawrence inside. After a moment, Emmett appeared in the doorway, said, “Would everyone please turn off their head-lamps? I don’t want any outside light getting in here, interfering with the shots.”
All the headlamps went dark except for Emmett’s. Abigail stood on the threshold, watching them explore the interior, the beam of Emmett’s light grazing the listing walls and a gnawed-board floor, littered with pieces of broken whiskey bottles, rusted tin-can scraps. The pine bar had toppled over and punched out a section of the back wall, through which the fog crept in, giving the saloon a natural smokiness.
“You can come on in,” Lawrence whispered to Abigail. “Just be mindful where you step and don’t go near the stove. If you look up, you’ll see a hole in the roof. The boards underneath get rained and snowed on. Amazing they haven’t fallen through yet.”
Abigail walked inside, the floor bowing beneath her weight. It smelled of mold and marmot urine and whatever the fog had carried in from the canyon. Emmett and June stood together by the wall opposite the potbellied stove, near an upright piano, half of the ivory keys missing, the rest cracked and jagged, like broken teeth.
Emmett turned off his headlamp, the darkness filling with the click of exposures.
While he shot
“Next morning at our local coffee house, Emmett saw a poster for a paranormal-photography slide show. We didn’t even know there was such a thing, but having just had our experience with Ty, we felt this conviction to go. Unfortunately, the photographer we went to see was a fraud. I could tell that right away. Most people who claim to be psychic are delusional. The stuff they shoot, it’s camera malfunctions, flash problems, dust particles on the film. But Emmett and I were inspired to buy a camera. We shot four rolls in our room that night—infrared film in total darkness. In the corner above our bed, we captured this fantastic pool of light, like this energy was watching over us as we slept.”
“Your son.”
“Emmett and I had always been artists. It’s why we lived in San Francisco. We threw ourselves into paranormal photography, never looked back. And it’s such a beautiful medium—a perfect intersection of art and history and service.”
“What do you mean by ‘service’?”
“See, it isn’t just about taking photographs of paranormal activity for the aesthetic value. These are suffering spirits who, for whatever reason, haven’t passed to the other side. Most important part of our job is helping them move on. It’s not about the thrills for us, or ‘ghost-busting.’ It’s our calling. If Ty hadn’t died, we probably never would have come down this road. Isn’t it beautiful and sad how these things work out?”
June placed something in Abigail’s hand—a small plastic cylinder.
“What’s this?”
“Emmett shot a roll of film on the hike in.”
“Of me?”
“Of you and Lawrence.”
“Well, that’s . . . Thank you, but to be honest, I don’t know that I want this.”
June squeezed her hands. “Do as you see fit.”
When Emmett finished shooting the Curtice homestead, the party moved on, six pairs of boots brushing through dry autumn weeds. They came down a slope, Abigail feeling guilty, convinced the death of the Tozers’ son had turned them out of their minds, yet knowing their story would make the heartbreaking core of her article.
Shapes took form out of the fog. They stood in the grassy lane, Abandon’s ramshackle buildings on either side, tendrils of mist drifting among them through the blaring silence.
“Let’s start in the saloon,” Emmett said, and Lawrence led them across the street, hopped over a few planks—all that remained of the sidewalk—and stepped gingerly into the shack.
“I haven’t been in here in awhile,” he said, “so I’m not sure how sturdy everything is. We’d better just start with the Tozers going in.”
Emmett and June joined Lawrence inside. After a moment, Emmett appeared in the doorway, said, “Would everyone please turn off their head-lamps? I don’t want any outside light getting in here, interfering with the shots.”
All the headlamps went dark except for Emmett’s. Abigail stood on the threshold, watching them explore the interior, the beam of Emmett’s light grazing the listing walls and a gnawed-board floor, littered with pieces of broken whiskey bottles, rusted tin-can scraps. The pine bar had toppled over and punched out a section of the back wall, through which the fog crept in, giving the saloon a natural smokiness.
“You can come on in,” Lawrence whispered to Abigail. “Just be mindful where you step and don’t go near the stove. If you look up, you’ll see a hole in the roof. The boards underneath get rained and snowed on. Amazing they haven’t fallen through yet.”
Abigail walked inside, the floor bowing beneath her weight. It smelled of mold and marmot urine and whatever the fog had carried in from the canyon. Emmett and June stood together by the wall opposite the potbellied stove, near an upright piano, half of the ivory keys missing, the rest cracked and jagged, like broken teeth.
Emmett turned off his headlamp, the darkness filling with the click of exposures.
While he shot
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