Dr. Liana Volkov measured her sanity in centimeters of fresh snow. It fell relentlessly outside the Verkhoyansk Sanatorium, a white, antiseptic shroud over the crumbling, Stalin-era brutalism of the building. She was a psychiatrist, a specialist in acute trauma and dissociation, and she had come to this remote corner of the Sakha Republic seeking the purest form of psychological damage. She believed that in absolute isolation, the human mind’s defense mechanisms would be laid bare.
The Sanatorium was an anomaly, a secret holding facility known colloquially as the "Empty Repository." Its patients were not victims of ordinary tragedy. They were the discarded husks, the residual cases from conflicts the outside world never knew existed: the **Empty Vessels** left behind after the **Mollusks**—the parasitic, non-corporeal extensions of the Adversary—had abandoned their human hosts.
Liana, however, refused the metaphysical definition.
“They are victims of extreme, protracted environmental and chemical stress,” she insisted to Dr. Chekhov, the facility’s director, a man whose permanent tremor suggested a deep knowledge he refused to speak aloud. “The trauma they experienced was not possession, but catastrophic **identity erasure**. We are seeing acute derealization and a form of highly geometric synesthesia caused by forced sensory deprivation and psychological torsion.”
Chekhov merely offered a weary, non-committal shrug that spanned the length of his tenure. He allowed Liana free rein, provided she never asked about the wards in the boiler room or the precise angle of the air vents.
Her primary focus was on **Patient Zero**, a man designated simply as *Vasily*, who had been held in the Repository since its unofficial opening in the 1950s. Vasily was her **Established Element**, a former low-level **Cabal Watcher** who had been tossed aside after a failed ritual, leaving him with an acute, specific form of terror.
Vasily did not speak of fear, but of **angles**.
“The corner… the corner is wrong, Doctor,” he would whisper, pointing to the perfectly ninety-degree intersection of the ceiling and wall in his sterile cell. “It should not be so perfect. The Nightworld geometry—it demands a skew. The perfect angle is… painful.”
Liana patiently recorded these statements as a complex post-traumatic delusion rooted in architectural imprisonment. Her **Character Development Goal** was to prove that Vasily’s experience could be categorized and treated within the boundaries of known science, thus saving the other Empty Vessels from the fatalistic hopelessness of a metaphysical wound.
The sanatorium itself contributed to her thesis. The extreme cold outside and the facility’s brutal, functional design created an environment of sensory deprivation. The geometric perfection of the Soviet structure was precisely what triggered the memories of the Mollusk’s own impossible geometry—the anti-Euclidean physics of the Adversary’s reality.
***
Liana spent two weeks observing the Repository’s population, which numbered forty-two. They were hushed, withdrawn, and physically intact, yet psychically hollow. When they did interact, they often grouped in unsettling, mathematically precise formations—triangles, squares, or long, single lines—a visible manifestation of the residual structural influence.
One evening, while running spectral analysis on the air quality—a test intended to dismiss Chekhov’s oblique references to "residual energies"—Liana discovered an anomaly.
In Vasily’s cell, the air itself contained a minuscule, repeatable variance. It was not a gas or a particulate. Using a specialized, high-frequency sonic detector designed to measure the resonant frequencies of concrete, she found a persistent, low-level harmonic. The sound was too subtle for the human ear, but her equipment showed a wave pattern that defied conventional acoustic laws. It was a wave that seemed to be vibrating **inside** the structure, not *from* it.
Liana isolated the frequency and cross-referenced it with Vasily’s ravings. She found a direct correlation. When the frequency subtly intensified, Vasily's agitation increased, and his murmurs about "skewed spaces" grew frantic.
The frequency was a constant, low-grade, **geometric echo**.
Her scientific skepticism buckled. She had anticipated psychological feedback loops or neurological damage, but this was structural physics. The Mollusk, though gone, had left a scar—a standing wave of its own impossible geometry that was anchored in the very concrete of the building. Her patients were suffering not from memory, but from continuous, subtle exposure to a metaphysical flaw in reality.
The core of her rationalist defense collapsed. Evil, as her patient Jerzy Borowski had once implied in a discarded field note Liana found tucked into a medical file, was indeed structural.
***
The crisis began during a blizzard that cut the sanatorium off completely. The wind outside howled with the voice of the Arctic, making the old building creak and shudder.
Liana was in her makeshift office when the subtle sonic frequency she had been monitoring spiked into an alarming resonance. The spike coincided with a distant, massive seismic event recorded minutes earlier on a borrowed, low-sensitivity seismograph Liana had installed in the cellar.
“Dr. Volkov!” Chekhov burst into her office, his face grey. “The wards. They are failing. It is the Repairman—a correction has been made, far to the south. The energy kickback is overloading the Repository.”
Liana understood instantly, her mind leaping across the distance. A **Repairman fix**—a surgical counter-stroke against the Adversary’s geometry—had sent a localized, inverse geometric shockwave through the planet. The shockwave had reached the sterile, isolated structure of the sanatorium, momentarily disrupting the very fabric of the residual Mollusk resonance.
The Empty Vessels were screaming. Their synchronized cries echoed through the concrete corridors, not in pain, but in forced, disoriented **geometric cohesion**. Their residual scars, the lingering dark energy, were momentarily vibrating in perfect harmony with the shockwave, threatening to coalesce into a minor, localized Mollusk manifestation right there in the Repository.
Liana had to act. Her years of psychiatric training, her knowledge of human stress response, were her only weapons.
“The frequency!” she shouted to Chekhov. “It is the resonant harmonic of 84.5 Hertz! It is trying to lock them into the anti-Euclidean mode! We have to break the wave.”
Chekhov, paralyzed by fear and years of passive observance, could only stare at the shaking walls.
Liana ran through the echoing corridor to the main observation deck. The patients were standing in their cells, their bodies contorted into precise, agonizing shapes—arcs and skewed parabolas—as the residual dark energy attempted to force a physical manifestation.
Liana snatched the facility’s archaic, emergency broadcast microphone. The microphone was designed only for mundane announcements—fire drills, meal times—but it was connected to speakers throughout the concrete wings. It was a tool of **ordered human communication**.
She did not use it to issue a soothing command. She used it to generate **chaos**.
She began to sing. Not a melody, but a discordant, rising-and-falling series of notes that fractured and broke the air. She used her voice to create a random, unpredictable **acoustic entropy**. She sang with a calculated, off-key intensity, forcing her pitch and volume to shift erratically.
“A-E-I-O-U, the sound of the flawed vowel!” she cried, using every non-geometric, imperfect resonance her human throat could produce.
The patients, their residual energy desperately trying to find a stable, ordered node in the chaotic physical world, were suddenly bombarded by noise that contained no recognizable pattern, no structural logic, and no predictable harmonic.
The sonic wave of 84.5 Hertz, which required stability to coalesce, was shattered by the random, imperfect vibration of the human voice. The geometric formation began to break down. The forced angles of the patients’ bodies softened.
Vasily, the Watcher, was the last to collapse. He fell to the floor, panting, no longer seeing the terrifying perfect corner, but the safe, flawed geometry of a ceiling angle slightly askew due to decades of structural settlement.
The crisis passed. The aberrant frequency faded back into its low, dormant hum. The distant geometric shockwave had passed, leaving the sanatorium silent, save for the ragged breathing of the exhausted patients and Liana's own trembling.
***
The next morning, the snow had stopped. Liana found Chekhov in her office, looking at the printouts of the high-frequency sonic data. The evidence of the event—the spike, the sudden break—was undeniable.
“It was not a psychological event, Doctor,” Chekhov admitted, finally surrendering his passive resistance. “It was structural.”
“It was both,” Liana corrected, looking out at the endless Siberian landscape. “The science of the mind and the metaphysics of the world overlap at the point of the **Mollusk’s scar**. The problem is not their trauma; it is the flaw in the concrete.”
She reached for the encrypted satellite phone—the one Chekhov kept hidden behind a fake copy of a Pushkin poem—and dialed the number he had kept secret for years.
“I am Dr. Liana Volkov, at the Verkhoyansk Repository,” she said into the receiver. “I need to speak to the Secret Circles. I have forty-two patients who require structural repair, not merely psychiatric observation. And I have information about the geometric patterns used by a discarded Cabal Watcher.”
She put down the phone. Her **fundamental change in belief** was complete. She had sought a scientific cure for a soul-deep wound. She had found a metaphysical truth that required a scientific method to counter. She was no longer a psychiatrist working in isolation; she was a custodian of the Divide, preparing to integrate the Empty Repository into the vast, silent war. Her work had just begun.
***
*This tale is set in the **Adversary Cycle** literary universe, originally created by **F. Paul Wilson**.*