Asimov's Science Fiction: September 2013 (3 page)

"So..." Was that
really
slight irritation he detected, followed by a small flash of pride? "... you can't be in several places at once?"

"That's simply isn't required. Although Elsinore does have many shortcuts."

"You mean, hidden passageways? Like a real castle?"

Kasaya, who clearly has more important things than this to see to, manages a smile. "I think that that would be a good analogy."

"But you just said think. You
do
think?"

"Yes." He's raised his clipboard almost like a shield now. "I believe I do."

"How long have you been here?"

"Oh..." He blinks in seeming recollection. "Many years."

"And before that?"

"Before that, I wasn't here." Hugging his clipboard more tightly than ever, Kasaya glances longingly down the corridor. "Perhaps there's something you need? I could summon someone...."

"No, I'm fine. I was just curious about what it must be like to be you, Kasaya. I mean, are you always on duty? Do your kind
sleep?
Do you change out of those clothes and wash your hair and—"

"I'm sorry, sir," the chimera intervenes, now distantly firm. "I really can't discuss these matters when I'm on duty. If I may...?"

Then he's off without a backward glance. Deserts may fail to bloom if the correct kind of finger food isn't served at precisely the right moment. Children blinded by onchocerciasis might not get the implants that will allow them to see grainy shapes for lack of a decent meeting room. And, after all, Kasaya is responding in the way that any servant would—at least, if a guest accosted them and started asking inappropriately personal questions when they were at work. Northover can't help but feel sorry for these creatures, who clearly seem to have at least the illusion of consciousness. To be trapped forever in crowd scenes at the edges of the lives of the truly dead...

Northover comes to another door set in a kind of side-turn that he almost walks past. Is this where the chimera servants go? Down this way, Elsinore certainly seems less grand. Bright sea air rattles the arrowslit glass. The walls are raw stone, and stained with white tidemarks of damp. This, he imagines some virtual guide pronouncing, is by far the oldest part of the castle. It certainly feels that way.

He lifts a hessian curtain and steps into a dark, cool space. A single barred, high skylight fans down on what could almost have been a dungeon. Or a monastic cell. Some warped old bookcases and other odd bits of furniture, all cheaply practical, populate a roughly paved floor. In one corner, some kind of divan or bed. In another, a wicker chair. The change of light is so pronounced that it's a moment before he sees that someone is sitting there. A further beat before he realizes it's Thea Lorentz, and that she's seated before a mirror, and her fingers are turning those bangles on her left wrist. Frail as frost, the silver circles tink and click. Otherwise, she's motionless. She barely seems to breathe.

Not a mirror at all, Northover realizes as he shifts quietly around her, but some kind of tunnel or gateway. Through it, he sees a street. It's raining, the sky is reddish with windblown earth, and the puddles seem bright as blood. Lean-to shacks, their gutters sluicing, line something too irregular to be called a street. A dead power pylon leans in the mid-distance. A woman stumbles into view, drenched and wading up to the knee. She's holding something wrapped in rags with a wary possessiveness that suggests it's either a baby or food. This could be the suburbs of London, New York, or Sydney. That doesn't matter. What does matter is how she falls to her knees at what she sees floating before her in the rain. Thea...! She almost drops whatever she's carrying as her fingers claw upward and her ruined mouth shapes the name. She's weeping, and Thea's weeping as well—two silver trails that follow the perfect contours of her face. Then, the scene fades in another shudder of rain, and Thea Lorentz is looking out at him from the reformed surface of a mirror with the same soft sorrow that poor, ruined woman must have seen in her gaze.

"Jon."

"This, er..." he gestures.

She stands up. She's wearing a long tweed skirt, rumpled boots, a loose turtleneck woolen top. "Oh, it's probably everything people say it is. The truth is that, once you're Farside, it's too easy to forget what Lifeside is really like. People make all the right noises—I'm sure you've heard them already. But that isn't the same thing."

"Going there—being seen as some virtual projection in random places like that—aren't you just perpetuating the myth?"

She nods slowly. "But is that really such a terrible thing? And that cat-eyed woman you sat next to yesterday at dinner. What's her name, Wilhelmina? Kasaya's already committed her to invest in new sewerage processing works and food aid, all of which will be targeted on that particular area of Barcelona. I know she's a tedious creature—you only have to look at her to see that—but what's the choice? You can stand back, and do nothing, or step in, and use whatever you have to try to make things slightly better."

"Is that what you really think?"

"Yes. I believe I do. But how about
you,
Jon? What do you think?"

"You know me," he says. "More than capable of thinking several things at once. And believing, or not believing, all of them."

"Doubting Thomas," she says, taking another step forward so he can smell patchouli.

"Or Hamlet."

"Here of all places, why not?"

For a while, they stand there in silence.

"This whole castle is designed to be incredibly protective of me," she says eventually. "It admits very few people this far. Only the best and oldest of friends. And Bartleby insists I wear these as an extra precaution, even though they can sometimes be distracting...." She raises her braceletted wrist. "As you've probably already gathered, he's pretty protective of me, too."

"We've spoken. It wasn't exactly the happiest reunion.

" She smiles. "The way you both are, it would have been strange if it was. But look, you've come all this incredible way. Why don't we go out somewhere?"

"You must have work to do. Projects—I don't know—that you need to approve. People to meet."

"The thing about being in Elsinore is that things generally go more smoothly when Thea Lorentz isn't in the way. You saw what it was like last night at dinner. Every time I open my mouth people expect to hear some new universal truth. I ask them practical questions and their mouths drop. Important deals fall apart when people get distracted because Thea's in the room. That's why Kasaya's so useful. He does all that's necessary—joins up the dots and bangs the odd head. And people scarcely even notice him."

"I don't think he likes it much when they do."

"More
questions, Jon?" She raises an eyebrow. "But everything here on Farside must still seem so strange to you, when there's so much to explore...."

Down stairways. Along corridors. Through storerooms. Perhaps these are the secret routes Kasaya hinted at, winding through the castle like Escher tunnels in whispers of sea-wet stone. Then they are down in a great, electric-lit cavern of a garage. His Bentley is here, along with lines of other fine and vintage machines long crumbled to rust back on Lifeside. Maseratis. Morgans. Lamborghinis. Other things that look like Dan Dare spaceships or Fabergé submarines. The cold air reeks of new gas, clean oil, polished metal. In a far corner and wildly out of place, squatting above a small black pool, is an old VW Beetle.

"Well," she says. "What do you think?

" He smiles as he walks around it. The dents and scratches are old friends. "It's perfect."

"Well, it was never
that.
But we had some fun with it, didn't we?"

"How does this work? I mean, creating it? Did you have some old pictures of it? Did you manage to access—"

"Jon." She dangles a key from her hand. "Do you want to go out for a drive, or what?"

"The steering even
pulls
the same way. It's amazing....

" Out on roads that climb and camber, giving glimpses through the slowly thinning mist of flanks of forest, deep drops. Headlights on, although it makes little difference and there doesn't seem to be any other traff ic. She twiddles the radio. Finds a station that must have stopped transmitting more than fifty years ago. Van Morrison, Springsteen, and Dylan. So very, very out of date—but still good—even back then. And even now, with his brown-eyed girl beside him again. It's the same useless deejay, the same pointless advertisements. As the road climbs higher, the signal fades to a bubbling hiss.

"Take that turn up there. You see, the track right there in the trees...?

" The road now scarcely a road. The Beetle a jumble of metallic jolts and yelps. He has to laugh, and Thea laughs as well, the way they're being bounced around. A tunnel through the trees, and then some kind of clearing, where he stops the engine and squawks the handbrake, and everything falls still.

"Do you remember?"

He climbs out slowly, as if fearing a sudden movement might cause it all to dissolve. "Of course I do...."

Thea, though, strides ahead. Climbs the sagging cabin steps.

"This is..."

"I know," she agrees, testing the door. Which—just as it had always been—is unlocked.

This, he thinks as he stumbles forward, is what it really means to be dead. Forget the gills and wings and the fine wines and the spectacular food and the incredible scenery. What this is, what it means...

Is
this.

The same cabin. It could be the same day. Thea, she'd called after him as he walked down the street away from an old actors' pub off what was still called Covent Garden after celebrating—although that wasn't the word—the end of
Bard on Wheels
with a farewell pint and spliff. Farewell and fuck off as far as Northover was concerned, Sam Bartleby and his stupid sword fights especially. Shakespeare and most other kinds of real performance being well and truly dead, and everyone heading for well-deserved obscurity. The sole exception being Thea Lorentz, who could sing and act and do most things better than all the rest of them combined, and had an air of being destined for higher things that didn't seem like arrogant bullshit even if it probably was. Out of his class, really, both professionally and personally. But she'd called to him, and he'd wandered back, for where else was he heading? She'd said she had a kind of proposal, and why didn't they go out for a while out in her old VW? All the bridges over the Thames hadn't yet been down then, and they'd driven past the burnt-out cars and abandoned shops until they came to this stretch of woodland where the trees were still alive, and they'd ended up exactly here. In this clearing, inside this cabin.

There's an old woodburner stove that Northover sets about lighting, and a few tins along the cobwebbed shelves, which he inspects, then settles on a can of soup, which he nearly cuts his thumb struggling to open, and sets to warm on the top of the fire as it begins to send out amber shadows. He goes to the window, clears a space in the dust, pretending to check if he turned the VW's lights off, but in reality trying to grab a little thinking time. He didn't, doesn't, know Thea Lorentz that well at this or any point. But he knows her well enough to understand that her spontaneous suggestions are nothing if not measured.

"Is this how it was, do you think?" she asks, shrugging off her coat and coming to stand behind him. Again, that smell of patchouli. She slides her arms around his waist. Nestles her chin against his shoulder. "I wanted you to be what I called producer and musical director for my Emily Dickinson thing. And you agreed."

"Not before I'd asked if you meant roadie and general dogsbody."

He feels her chuckle. "That as well...."

"What else was I going to do, anyway?" Dimly, in the gaining glow of the fire, he can see her and his face in reflection.

"And how about now?"

"I suppose it's much the same."

He turns. It's he who clasps her face, draws her mouth to his. Another thing about Thea is that, even when you know it's always really her, it somehow seems to be you.

Their teeth clash. It's been a long time. This is the first time ever. She draws back, breathless, pulls off that loose-f itting jumper she's wearing. He helps her with the shift beneath, traces, remembers, discovers or rediscovers, the shape and weight of her breasts. Thumbs her hardening nipples. Then, she pulls away his shirt, undoes his belt buckle. Diff icult here to be graceful, even if you're Thea Lorentz, struggle-hopping with zips, shoes, and panties. Even harder for Northover with one sock off and the other caught on something or other, not to mention his young man's erection, as he throws a dusty blanket over the creaky divan. But laughter helps. Laughter always did. That, and Thea's knowing smile as she takes hold of him for a moment in her cool fingers. Then, Christ, she lets go of him again. A final pause, and he almost thinks this isn't going to work, but all she's doing is pulling off those silver bracelets, and then, before he can realize what else it is she wants, she's snapping off the bangle of his Rolex as well and pulling him down, and now there's nothing else to be done, for they really are naked.

Northover, he's drowning in memory. Greedy at first, hard to hold back, especially with the things she does, but then trying to be slow, trying to be gentle. Or, at least, a gentleman. He remembers, anyway—or is it now happening?—that time she took his head between her hands and raised it to her gaze
. You don't have to be so careful,
she murmurs. Or murmured.
I'm flesh and blood, Jon. Just like you....

He lies back. Collapsed. Drenched. Exhausted. Sated. He turns from the cobwebbed ceiling and sees that the Rolex lies cast on the gritty floor. Softly ticking. Just within reach. But already, Thea is stirring. She scratches, stretches. Bracelet hoops glitter as they slip back over her knuckles. He stands up. Pads over to a stained sink. There's a trickle of water. What might pass for a towel. Dead or living, it seems, the lineaments of love remain the same.

"You never were much of a one for falling asleep after," Thea comments, straightening her sleeves as she dresses.