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The Closed Door Trilogy: Part Two: The Bottom

You Know When You Are There

There is no dramatic announcement. No moment where the floor gives way and you fall through into something recognizably worse. The bottom just arrives. You realize you have been there for a few days already and did not mark the entry point. You look around at the interior of whatever this place is and understand, with a clarity that is almost clinical, that this is as far down as it goes.

For him it looked like three days without leaving the apartment. It looked like food ordered because eating felt necessary and not because hunger had made itself known. It looked like the phone face-down on the table and the table existing at the far end of a room that felt very large.

The Silence Gets Loud

At the bottom, the silence stops being neutral. It accumulates. He could hear it in the way you hear a frequency that was always there but only becomes audible when everything else is gone. The absence of other people, of obligation, of performance, left him alone with a version of himself he did not particularly want to spend extended time with.

He tried music once. Turned it off after four minutes. The gap between how it sounded and how he felt was too wide and the contrast made things worse. He tried television. Watched forty minutes of something he cannot now remember and turned it off because the people on screen seemed to be operating in a different physical reality, one where faces moved and mouths made sounds for reasons that felt alien and exhausting to track.

What Nobody Sees

Outside the door, life continued at its regular pace. He knew this in the abstract. People were having lunch and making plans and sending messages he was not answering and probably, some of them, wondering if they had done something wrong. He felt bad about that in the part of himself that was still capable of feeling bad about things. The part had gotten smaller.

He cried once, on the second day. Not with any particular trigger. Just the accumulated pressure of everything finding its only available exit. He sat on the bathroom floor because that is where it happened, and he let it run its course, and then he washed his face with cold water and looked at himself in the mirror for a long time without thinking anything in particular, and then he went back to the room and the silence and the phone face-down on the table.

The Knock on the Third Day

He did not answer it. But he heard it. And then he heard a voice through the door, not asking to be let in, not demanding an explanation, just saying his name and then saying: I am going to leave something here. You do not have to open the door. I just wanted you to know I came.

He sat very still on the other side of the door and listened to the footsteps move away down the hall. He did not open the door for another hour. When he did, there was food and a note that said nothing except: still here when you are ready.

He stood in the doorway and looked at the empty hallway for a long time. He did not feel better. But he felt something shift, some small tectonic thing deep underneath the weight, that was not better exactly but was different from what it had been five minutes before.

The Bottom Is Not the End

That is what he learned on the third day, not as an insight or a revelation, just as a fact he had gathered enough evidence to provisionally accept. The bottom has a floor. It is not bottomless. You hit it and it holds you, not comfortably, not warmly, but structurally. It does not let you through.

He ate the food. He read the note twice. He did not text back that night.

But he kept the note.

Zsolt Zsemba

Zsolt Zsemba has worn many different hats. He has been an entrepreneur, and businessman for over 30 years. Living abroad has given him many amazing experiences in life and also sparked his imagination for writing. After moving to Canada from Hungary at the age of 10 and working in a family business for a large part of his life. The switch from manufacturing to writing came surprisingly easily for him. His passion for writing began at age 12, mostly writing poetry and short stories. In 1999, the chance came to write scripts. Zsolt took some time off from his family business to write in Jakarta Indonesia for MD Entertainment. Having written dozens of soap operas and made for TV movies, in 2003 Zsolt returned to the family business once more. In 2018, he had the chance to head back to Asia once again. He took on the challenge to be the COO for MD Pictures and get back into the entertainment business. The entertainment business opened up the desire to write once more and the words began to flow onto the pages again. He decided to rewrite a book he began years ago. Organ House was reborn and is a fiction suspense novel while Scars is a young adult drama focused on life’s challenges. After the first two books, his desire to write not only became more challenging but enjoyable as well. After having several books completed he was convinced to publish them for your enjoyment. Zsolt does not tend to stay in one specific genre but tends to lean towards strong female leads and horror. Though he also has a few human interest books, he tends to write about whatever brews in his brain for a while.

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