Continuum – The Final Episode: The Valley of Carr-Villoise

Alanee has survived her mortal combat with Hasuga’s former ‘Mother’ and found the key to the wooden chamber’s secret door, by which she and Sala escape the City before its final collapse.  The pair discover a boat moored on the River Balna and entrust the current to take them clear of danger.

Although Sala strives to help her, Alaneee succumbs to her wounds.  With her whole world destroyed, Sala opts to end her own life and seeks an ending in the deepest part of the river.

Now read on:

  It is the Hour of Spirits; a time for ghosts to rise, a time of angels.  It is first morning, and Alanee is there.  In her hands the xuss, wheaten bread of the Hakaan, the wide plain she loves so well.  Upon the road before her, the long dirt lane that leads down the hillside from the village that is her home, between hedges grown high with wildsweet and the white weed, old Kaasa’s horse labours.  Steam rising from its sweating flanks, breath in bellows-blasts from deep capacious lungs it pulls a richly-laden cart – fresh fish from Hikarthay, flour from Baldar Mill.  An aged engine and its aged engineer; who more aged could there be, who more redolent of forever?  Across the swathe of mists a red dawn is breaking, and it is morning in Balkinvel.  Alanee, xuss clasped in her hand, in the summer of the land she loves.

Where was she when the darkness came?  When did the flame, the tiny spark she had nurtured so carefully into fire, gutter and die?  And by whose refulgence does she see, now that her own sweet light of memory has gone?

Deeper dreams, explanations:  ‘I am here.  I am always with you’.

Stirring.  A sweet touch that must be Sala’s touch, for in life there is no touch sweeter – then another.  Unwilling eyes, unready eyes – open, they can see nothing more lovely or more perfect than the dream – sleep is all these eyes, this body craves.  Rest is all this heart can ask.

But the touch is insistent: it comes to her and leaves her at once, like a drift of breeze, or a sweetness of honey on her tongue. It calls her.  She might turn away, but something, some kernel of heat within the white ash of her psyche asks it of her.

Open – wake – and so, as one who has returned from a great journey; as one who has seen the far distance and knows it for itself, she does.

Those eyes that meet her eyes are gentle.  They speak to her of safety; they invite her in.  It is not important, at first, that they are not human eyes, or even those of beasts she may recognise.  They are there, and there is a world behind them.

She who looks down upon her, she is not Sala, or even close to Sala.  She is not human, in a way Alanee knows.  A creature, though: a beast – no, she will not call it so – a being.  A being she saw in a picture once, with golden hair that cascades about its body in a flaxen mist: a being that smiles to see her eyelids flicker open, a being whose excited chatter is so close to speech she feels she might almost understand it, if only that speech was slower, closer to her need for understanding.  She smiles in return, and the being cries for joy.

In the subdued light (she is within the shelter of some large hut, or house) there is food; fresh fruit, some fish, some green-stuff, and there is rest again.  Darkness and light, sadness and happiness.  A host of little faces greet her, a gallery of those strange, near-human smiles, mellifluous sounds, all glad that she has wakened, happy she is with them.  In the cradle of their care she sleeps.  And come the morning, wakes once more.

As some of her strength returns, Alanee tries to raise herself and look around her.  The wounds to her leg and arm have been stitched with a fine, green thread and she is laid upon a bed of fresh hay-grass which has been somehow contained within a coarsely-woven sack resembling a mattress.  The same hempen substance covers her.  It is both comfortable and sweet-smelling, though a light dust tickles her nose.  A roof of reeds, supported by a central pole, rises maybe twelve feet to its peak above her head, and extends to a circular red mud wall.  Apart from her bed the only furniture, set against this wall, is a rather curious-looking jar upon a wooden stand.  The only opening, which serves both as entrance and window, has a rush hurdle propped beside it to act as a door.  Bright sun beams in onto a clay floor and outside there are sounds which, were they human in origin, would be like those of children playing.  She can see little against that strong, glaring light.

Three of the golden people (yes, she may call them that) stand watching.  Erect bodies sheathed in long, silken hair.  She extends a hand and one, she whose eyes first met her own on waking, accepts it.  Alanee wonders at her dark skin, the ribbed nails, hardened  knuckles, yet in its way her grip is sensual, warm and comforting.  There is such a sweetness, such an open frankness in her wild smile, such a soft music in her chuckling pleasure that Alanee is instantly compelled to love her.

One of the onlookers comes forward bearing water in a hewn wooden bowl, offering it nervously.  Alanee is glad to drink.  Expectancy!  She feels its twang upon the air.

A shadow falls across the floor.  A dark being stands framed within the doorway.   “We thought we had lost you.”

That deep voice!  That is the voice!  Unsure if she can speak, and fearful lest she be wrong she hesitates to say the name; but she hopes; she hopes so, so much!

“Dag?”

“None other.  You remember me, then?”

Remember!  Just to hear his voice as it resonated time upon time within her dreams, though she hardly knows him, has scarcely really seen his face, is all she could want.  Oh, Dag!  He walks towards her, as tall as she remembers, and the golden creature respectfully withdraws.

“Of course I remember you!”  Alanee can hardly restrain herself, tears welling into her eyes, and weak though she is laughter plays about her lips as she waits for him to turn to the light, for a glimpse of the face she once kissed in gratitude.  “Let me look at you!”

He sits beside her on the edge of her bed and she sees at once how well his image matches the one that has found space in her heart.  Those eyes so fathomless and dark, the tiny creases as he smiles – a wide smile across his long, slightly haggard face;  featured with sufficient flint to make a man.  ‘Yes’ Alanee’s inner voice murmurs:  ‘you are all I remember you to be.’

“Who designs your clothes?”  She asks aloud, finding an excuse to give vent to a laugh that is proving irrepressible.  He is dressed in an ill-tailored smock which looks to be made of wool.  It is coloured, very patchily, by some sort of red vegetable dye that has not quite taken.

Dag grimaces.  “In all honesty I rigged this up last night out of two of the curtains the Miroveti use for insulation.  They aren’t particularly strong on clothes around here.  They don’t see much sense in them.  I’ll have to do better now you’re around, though.  I’m boiling in this thing!”

“So normally you don’t wear anything?”

“Don’t look so worried!  They cleaned and kept your clothes for you, and we’ll rig up a loom, or something.”

“Dag, who are they, these creatures?”

“I’m glad you said ‘who’ and not ‘what’.  I wish I knew.   I asked the one I call Pasc – he brought me here – and the nearest we both understood was Miroveti.  It will do, anyway.  They’re even less strong on names than they are on clothes.”

A ripple of tiredness washes over Alanee:  her newly regained strength is ebbing.  She sinks back on the bed.  “Sala.”  She says:  “Is Sala here?”

Dag asks:  “Who is Sala?”

Sleep saves her.

When Alanee re-awakens the sun has travelled another course, and she feels renewed.  Despite anxious solicitations from her kindly nurse she rises and discovers the tabard dress she was wearing when she left The City neatly folded beside her bed.  It is clean and crisp:  it feels cool against her skin.

Supported at first on one silky arm, then taking some steps on her own, she ventures unsteadily out into sunlight, only to be nearly knocked from her feet by a milling throng of Miroveti children.  They gather about her legs,  pushing and jostling and clamouring for attention so insistently she surrenders; sitting down in their midst to laughingly submit as curious fingers touch her hair and her face.  Dag discovers her here, twenty minutes later, with a fascinated young Miroveti on her lap toying with her lips, ears and curls.

“You’ve been unconscious for four days,” he tells her later, as they wander down towards a wooden jetty at the river edge.  He has swapped his vast, heavy blanket for a more reasonable loin-cloth of animal hide. “You were alone in the boat when they found you.  I’m sorry.”

There is the boat, lashed at last to a calmer mooring.  Though Alanee explores it carefully, she finds no evidence of her friend.

“She must have thought I was dead; struck out on her own.”

“With the ‘dead’ part I can empathise; I thought you were myself until the Miroveti fed you with some of their amazing herbs.  They are marvellous physicians, there’s nothing they don’t know about natural medicine.  Now here you are, just five days later, walking around as if nothing has happened.”

“Not quite.”  Although the wounds are healing, they still hurt her.  The muscle in her leg tightens with each step, forcing her to walk with a limp.

He covers her hand with his own.  “There was a robe, a very fine courtier’s robe, though it was the worse for wear:  part had been torn off to make a bandage the Miroveti found on your leg wound; the rest of it was in the bottom of the boat.  We thought it was yours.  Maybe it wasn’t.”

She forces herself to breathe calmly.  Sala would have had to remove her robe if she were to swim ashore, she tells herself.  Sala was strong, so much stronger than she.

“What did happen, Alanee?”  Dag asks.

She perches on the edge of the jetty, dangling her feet in the water.  He sits beside her, and the river moves past them with stately invincibility, brown and wide.  The opposite bank is a forest that extends to higher ground, and which in turn becomes foothills to mountains beyond – a forest a-flutter with wild creatures revealed in brilliant flashes of plumage, dark leaves, ruffled gently by a warm wind.  Behind them the Miroveti village pulsates to its own rhythm of life: laughter and wailing of children, cackling of old ones, mewing and clucking excitement of females, mature grunting males.  A collection of huts of mud and straw built by half-human hands in a clearing in the woods.

Alanee tells Dag of the fate of the Consensual City; of her adventures there, and how she owes her life to her friend.  It is not a short tale, for Dag, like Sala, knew nothing of Hasuga or his power. 

When she is done, he says gravely:  “That explains a lot of things; and poses questions for a great many more.  Alanee, you drifted down this river, but it is not the Balna.  You were discovered up-river no more than a mile away, and further up there are falls: great waterfalls where the river drops a hundred feet or more.  You can’t have come that way.”

The library of her mind contains all the history she needs, so she tells him of all she found while idling in the sanctuary of death.

“This is Carr-Villoise’s valley.”

Dag looks blankly at her, so she goes on. “Carr-Villoise saved this small patch from the final conflict.  With Karkus he protected and fed the last mutant humans here while they developed Hasuga.”

She relates the story Lady Ellar had only begun to learn, left alone with that Book of Lore: how once, long ago, doomed mutants genetically engineered an almost ageless child, a biological computer whose brain could encompass all the knowledge they hoped he would need to eventually rebuild their species.  “So his body could survive they gave him this valley.”

Dag looks puzzled.  “Like a garden?”

“I believe so.  When Hasuga ate his real food came from here. This, the village, the river, the forest, this is all real.”  Alanee rests her chin on her hands, looking at the reflections on the water.  “And he was real.  Everything else…”

Alanee pauses for a while, watching carp, bass and eels darting among the reeds.

“Hasuga constructed a virtual world of his own.  He was lonely.  He wanted a mother so he created one.  Then, through the emanations of that great brain he made a palace to live in, a virtual city and a civilisation around it.

“The city, the outer lands and the people who lived in them, even those who ‘cared’ for him, he made by the power of his mind, structured over time into something so complex and substantial it might just as well have been real.  Oh, there were limits:  he could only sustain so many people or players within it– he played out little games of war, thought up plagues, all sorts of natural disasters, simply to control numbers.

“But computers, even organic ones, finally wear out.  So his purpose was always to recreate flesh – to re-establish a natural cycle of birth and death; people like the unsullied predecessors of those who created him.  There were a lot of failed experiments, like the children in the city:  I thought they were so vacuous and characterless, and now I see they were merely failures, unsatisfactory clones.  But there were successes too.”

“The Miroveti?”

“I guess so.  Simple creatures he created to be his gardeners who became his chemists.”  She smiles reflectively, “Far from simple!”

“Anyway, his final task was to regenerate humans.  His starting point for that was a slightly aberrant player from amongst his population and I was it.”  She spreads her hands demonstratively; “Far away from The City, see?  His message wasn’t so strong, out there in the Hakaan.  Oh, Habbach, was the Hakaan even real?”

  “Were you even real?”   Dag grins.  “You look pretty three-dimensional to me!  What you’re saying is, he was shaping you to be first of his new species inside the virtual world of The City?  So you can’t be real?”

“Let me explain.  He had to brief me first, make sure I was completely ready, that I had enough power, enough knowledge. Once he was certain of that his mission was complete.  All that was left for him was to shut down. He had to do that so I could get free.”

“Shut down – what, everything?”

“By gradual stages, yes.  We saw it as impending disaster – the Continuum.  It was Hasuga throwing switches:  he’s a very orderly and organised sort of being.  He had to prime himself to be sure there wasn’t a total failure before he was prepared.”

“So how do you become flesh and blood through all this?  When does it happen?”

Alanee speaks slowly and gently soothes his hand with her own.  “Dag, it already has.”

“Oh, for sure?  And how do either of us know the difference?”

“A secret that was kept by The Ancients.  The final key to my transition, if you like.  Hasuga didn’t understand it, It was incorporated it in the switch he was programmed to use to shut himself down.  A book that told of a magic made long, long ago. We had to hold it in our hands to make a final link: I was to die.”

Dag pales,  “But you didn’t…”

“Yes, I did.   Hasuga’s ‘Mother’ made the process more straightforward, actually;  I was dead when your wonderful Miroveti found me.” 

“|They brought you back from the dead?”

“So it seems.  They recovered my tiny piece of Hasuga’s program, if you like.  He modified me so I could survive without him.  I had to be shut down and restarted; and that made me real.”

For a long time Dag says nothing, staring deep into the water before he will ask the question he would almost prefer to leave unanswered;  “What about me?  I haven’t ‘shut down’, have I?  Are you saying that to be like you, I had to die, too?”

 She remembers the compress of leaves, the morning of her pain.  Her words are carefully chosen.  “I know you did.”

He stares at her:  “My healing – was that you?”

Alanee does not answer.  She has said enough.

Leaving Dag alone to reflect, she walks back up the slope from the river.  She will not tell him, yet, what their work together must be, though it might be that he knows; perhaps she senses the resentment he will feel, and can see how carefully she has to tread if ever he is to love her.

For herself Alanee will never lack comfort, never have to act alone.  In her mortal lifetime Hasuga will always be close at hand, though in no form she can touch.  He has left the burden of his imprisoned form behind, substituted flesh for a less substantial presence.  Yet he speaks to her still.

She has only a small part in the first chapter of the book she brought Hasuga on that fateful morning; a book that begins with a story of a garden.  And when she is gone, the book will help him with all that comes after.

“One thing, Hasuga – one thing I do not understand.”

In a day to come when she is alone, perched upon a rock above the valley, watching Dag and their children playing in the meadow below, she will ask the question, speaking aloud as she often does when she speaks with Hasuga:

“If the fatal flaw in the human race was, as the book tells us, begun at the very first; how different are we?  One man and one woman – we cannot begin a perfect race, can we?  Isn’t this just the same mistake, all over again?”

And he will reply, inside her head.  ‘Is perfection what you truly seek?’

Alanee may ponder this for a while, seeing how one of her two boy children always harasses and bullies the other, even in play.  Something in her mind must give an affirmative answer, for Hasuga responds to her.

‘There is more for you to know.  Have faith in me.’

Alanee’s answer is not, as she may suppose, so far away:  for hers is not the only home upon the banks of this river.  There is another.  It is kept by a woman deeply in love with a man who found her and pulled her from the water’s clutch, a handful of years ago.  While Alanee rests, this woman sows corn in a little plot she has created, her Mansuvene hands once so soft now hardened by labour, but with a happy heart, because despite misgivings she has always harboured, she is joyfully certain now that she is with child.

This afternoon she will break her news to her man, when he returns from his expedition along the shore of the river, and though she chided him for his false hopes, some part of her has faith too.  Maybe he has found the others he says he is sure are there.

After all, he is a man of  perception, and her trust in Commander Zess’s judgement is absolute.

The End

© Frederick Anderson 2020.  Unauthorized use and/or duplication of this material without express and written permission from the author is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Frederick Anderson with specific direction to the original content.

Continuum – Episode Twenty-Nine: Time to Choose.

In the previous episode:

Acting upon Hasuga’s demand that she remove a book from the City’s Inner Library, Alanee takes the elevator deep into the rock below the city, where she finds the sanctuary of the Book of Lore guarded by Karkus, aged progenitor of  The City itself.   In stealing the book she is discovered by the leacherous Portis, who tries to compromise her in the privacy of the elevator in return for his silence.  She tricks him by summoning Ellar to call the elevator,and escapes, leaving Portis to explain himself to the Mediant.   Now read on…

Alanee knew she had only a few minutes lead on events.  While she put as much distance as she could between herself and the elevator, Portis would, with difficulty, be persuading the Ellar the Mediant of his innocence and of hers, Alanee’s, culpability – he may not succeed on either count, but Ellar, meticulous as she was, would want to cover herself very quickly, so swift pursuit with the object of investigating any possible theft was inevitable.

Later, were she given time, Lady Ellar might review these events and wonder.  Why had Alanee’s summoner message, tapped out blindly:  “Help call lib elev”, reached her rather than any other member of the Council?

  She might wish that it had not.  She will not know that Alanee’s inexpert fingers hit her call-button purely by chance, because beneath the folds of the robe that seconds later she would shed she could neither see what she wrote, or to whom she addressed it.  It was only essential that someone should call the elevator, bring it up to the high corridor.

The Book?  Ellar never saw the book.  It was beneath Alanee’s robe when she recovered it, concealed from sight as she clasped it to her, running away through the scattering of nobles who frequented the corridor at that time.

Later, Ellar might discover these things.  Just as she might investigate Portis’s frantic claim, made while he sought to cover himself:

“It is a device Lady!  She has stolen a book!   Detain her, for Habbach’s sake!”

She might believe him.  Anyone witnessing this scene in the corridor might, if Portis’s habits were not well known, if his tastes were not public knowledge and if the physical evidence were not so compelling.  It is a balance of probabilities, as all things are, and it weighs in Alanee’s favour for just long enough.

Alanee bursts into Cassix’s chambers, where Sala awaits her. Saucer-eyed, Sala takes in her friend’s undressed state.  “Je-Habba!  What happened to you?”

“Sire Portis got a little too fresh for his own good.  I’m all right, ba, don’t worry, or I will be as soon as I get some sensible clothes.”  She senses Sala’s nervousness,  “But you’re upset, aren’t you?  Is there something the matter?”

In the bedroom, Alanee throws her robe and the book upon the bed, quickly slipping into a Hakaani-style tabard she had commissioned from the dressmaker.  She shudders:  “I wish I had time for a bath, I don’t think I’ve ever felt this soiled.”

Sala stands in the doorway.  “What’s that?”  Her eyes have rested upon the book.

“I’ve no time to explain right now.  I’ve a head start on the guards, I think: no more than that.”

Sala’s stares at the little locked volume: her eyes follow it as Alanee picks it up and slips it into her clutch bag.  Alanee reads her thoughts.  The friends both pause in shared significance.

“Is that from the…?”

“From the Inner Library?”  Alanee is tying the thongs which secure the sides of the tabard;  “Yes, it is.”

Sala’s summoner is blaring:  she stabs at it, holds it up to the light.  “It is the Lady Ellar.”

“Don’t answer it!”

“Alanee, she’s my patron!”  Sala protests; “But it doesn’t need an answer, darling.  It’s an order.”  She displays the read-out for Alanee to see.  The message says:   “KEEP HER THERE.  You stole that book, didn’t you?  Alanee, they kill you for that!”

The pair exchange looks.  Alanee says:  “So, now.  Your patron or your friend?  Time to choose, ba.” 

Sala nods solemnly.  “That’s a choice I’ve already made.  I won’t keep you, but have you seen the mirrors?” Alanee is making for the door, intent upon completing her mission by placing the book in Hasuga’s hands; “Take a minute to look at this first.  Please, ba?”

She urges Alanee around the mysterious and, to her, a doorless wooden edifice, guiding her into the leather chair before the trio of mirrors.  They are alive with reflections; reflections of carrion birds circling, people racing blindly as deer before a forest fire; dying people with terror, mortal terror in their faces, muscles taut as steel hawsers, drooling mouths and bulging, sightless eyes.  There are thousands, the running and the dying, thrown into stark relief by flashes of brilliance from a furious sky.

‘Have you seen?’  Hasuga is in Alanee’s head again.  ‘Do you understand?’  Alanee does.  Now, before these images, she understands it all.  ‘Bring me the Book.  I must have it in my hand, Alanee.’

Fighting her fear, she tells Sala.  “The book must be returned to whom it belongs.  I have to take it to him.  If you believe in me you must wait for me here, ba.  Do you see?  I will return.”

Sala calls after her:  “This.  All this.”  She waves towards the mirrors.  “It isn’t real, is it?  It’s just necromancy, witchery.”

Alanee smiles kindly.  “Is that what you want to believe, ba?   No, the mirrors speak truly.  That is the Continuum, and our time has run out  Be patient now, I won’t be gone for long.”

“The guards will come.  Ellar will come!”

“Tell them you tried to detain me, but I fought you off.  Stay here if you can, darling.”

Since her arrival, Alanee has not had opportunity to explore the links from her high station to the lower city, and she knows of just one route to the Palace.  By winding her way through back alleys, past drinking halls and night club areas that are sweeping up from the business of the night before, she hopes to evade any troop of guards Ellar or Portis may send in her pursuit.  She loses herself twice before a chance diversion delivers her onto the forecourt of the great palace building.   Taking a deep breath and concealing the book as best she can, she steps into the open.  Although she may feel a hundred eyes boring into her back, she is safer than she expects.  In the event most of the city’s elite are about their daily tasks and word of her little drama with Portis has not yet reached this level.  Any remarks she overhears refer to her status.

“I believe that is Lady Alanee, our new Seer!”

“So young!  So young!”

“Exquisite!  Quite exquisite!”

When she steps into the Great Hall of the Palace, however, the atmosphere is quite different.  Here the hustle and bustle of the day is in full swing and seemingly more frenetic than its usual pace.  She is recognised here too.  A few greet her, some ignore her, all look curiously at her disrespectful form of dress.  When she reaches the private elevator that rises to Hasuga’s high rooms, this becomes an issue.  A royal drab steps across her path.

“Lady?  What business have you here?”

“I’m appointed to meet with Sire Hasuga.  You know who I am?”

“You are the Seer, Lady.  But your clothes are inappropriate to the inner sanctum.”

“The matter is urgent.  I had no time to change.”

“Nevertheless…”

“Step aside, man.  Lady Alanee has Sire Hasuga’s full authority.”  She identifies that voice immediately, spins around in some confusion.

“Celeris?  But how…?”

His smile is as placidly beautiful as ever.  “Lady, I am always at your service, surely you know that?  You must forgive our over-zealous friend here:  the place is in turmoil.  There is a rumour that Sire Portis is under arrest, and Sire Trebec is to be brought to trial for genocide.  The High Council is in utter disarray.  It is what you might describe as a ‘bad morning’ really.”

He steps closer, so she can inhale the sweet scent of his breath, whispers to her.  “You see?  Even a hologram has its uses.  Actually, my dearest memory, this is the last time we shall meet.  Be well, Alanee.”

The elevator doors are open behind her.  Before she has time to protest or give tongue to her anger, (or would it be love?) Celeris walks away, vanishes in the hubbub of the crowd, leaving behind him an emptiness of parting.

As the doors close and the pod of the elevator raises her to Hasuga’s royal apartments she tries to confront the riddle of Celeris.  Who, or what, was he?   Substantial enough, this she knows:  no ghost, no apparition.  Then what – a part of her that she might summon in times of hopelessness or hope?  How could a life be brought to existence purely by her need, then cease until next she needed it?  How could space be created in time for such a materialisation, and what would be left each time it departed?  The process of deduction begun before the mirrors is developing and each new revelation is another shock, another open mineshaft into darkness.

He is where he always sits, upon his bed.  The room is empty.  The serpentine machine is gone, the screens are still and lifeless.

“You have the book.”  It is not a question.

Alanee takes the book from her bag, offering it to him, arm outstretched.

“No, not yet.”  Puzzled, she steps back.  How pale he looks, how thin and drawn!  The mighty complex of his brain that always seemed to pulsate with inspiration is unillumined now, as if some part of him has already left his body.

“I thought you wanted it, you said you could open it, read what’s inside.  Now you don’t?”

“I know what is inside.  As do you.  You read it when you took it in your hands, and yes, you must give it to me, but not before you know its name.”

“It doesn’t have a name – not on the spine, not on the cover – look!”  She proffers the volume, and almost at once she wishes she could retract her words, for there is a name – embossed in gold letters, where before there was nothing.  In some wonder, she reads the title aloud.

“The Holy Bible.”

Hasuga says simply:  “We are done here.”

“You make no sense to me. This makes no sense, none of it.  There is some plan, some scheme.  If I am a part of it, shouldn’t I be told?”

“Alanee my dear one, I have said to you not once but many times that I am learning.  All the knowledge I have gained is in your head too, though you may not countenance it yet.  I do not know what will happen to you next, only that if you are given the opportunity, you will also learn.”

Hasuga rises to his feet and steps closer to her, so she may see his eyes, and the conviction within them, as never before.  “It is all there in your mind – all the history, all the reality.  As you need it and if you need it you will find what you seek, dredge it out.  Think of your mind as a great library filled with books , all of which you could not possibly find time to read.

“So, what now?”  His smile is suddenly so reminiscent of Celeris.  “Well, that is the next great discovery.  When my hand closes around that book, a circle is completed.  Then we shall both discover the truth.”

Hasuga extends a thin left hand, clasps her free hand within it.  “We shall not see each other again.  Go now.”

And with his other hand, he takes the book from her grasp.

The heavens scream.

Long ago, when Alanee was very young, the earth shook itself as a dog does when it clambers from the water.  Her mother pronounced it a ‘tremor’ and dismissed it, but to Alanee it was a fearful episode; a profusion of falling plates, rocking furniture, cracking plaster from the walls.  She remembers it.  So the feeling of the palace in motion beneath her feet is familiar, and were it not for the time and place, she might dismiss it as her mother did.  But there is a greater wrongness within it that speaks to her, something that demands she run.

“Quickly, Sire!  We must get away!”

Hasuga only smiles:  he smiles, then, like Celeris in her chambers, like Saleen before Ripero’s outstretched hands, he is gone.  The room is gone.  The apartments, the entire palace is fragmenting, with no cry, with no thunder of masonry or spike of flame – without any blinding fog of dust:  just a distant whine of something coming;   something absolute …..

Filled with horror, Alanee turns towards the door:  but there is no door, there is no wall.  For a fraction of a second the great hall of the palace is in its place (how is she here, rather than three storeys above?) but then that, too, disappears:  Toccata’s tsakal house materialises with Toccata standing within it, his face a white mask of despair.  His expensive hangings are falling in a whirlwind, yet he still reaches out to her, mouth moving in a soundless greeting.  In turn the ante-room to the council chamber, then the palace courtyard fly about her head – images of places she knows, faces she remembers, shuffling like cards in a deck.

Somehow she is running, she knows that, though her feet do not seem to move; passing through the courtyard, the Grand Park, the malls, her old apartment, all with the desperate desire to find her way back:  back to Sala.  The one thing, the one person vital to her.  She must rescue Sala.

Is it her?  Is she in some kind of dream?  Only that unremitting sound, growing steadily, seems real.  The City has lost its order, its structure:  it is coming to pieces.  Nevertheless somehow she is finding her way.  Something in her psyche guides her, makes sense of the moving maze in such fashion that she finds direction when all direction has been lost.  A thread within her follows a thread through the mayhem and that should be sufficient – would be – were it not for Mother.

Mother, cheated by her beloved child and screeching out her loss in a paroxysm of fury:  Mother with hyena-teeth bared and long knife aloft comes whirling from the mists of confusion with one thing only in her contorted mind; to take the life from the one who took Hasuga from her – Alanee’s life.

Before she can defend herself Alanee is thrown to the moving ground with time to no more than twist away from the first strike – the second she cannot avoid.  It plunges deep, it strikes like an rod of fire into her thigh and instantly her blood starts pulsing through the wound.  This is death!  She takes the third strike on her arm, catching the raw blade enough to turn it on itself.  With a strength born of mortal peril she thrusts the demented woman from her, grabs the hand that has the weapon in its grip.

Now a real struggle begins.  Mother has the knife, would thrust it into Alanee’s heart, but Alanee holds her by the wrist and is forcing it back.  Mother is finding her feet, trying to rise.  Alanee feeling her strength flowing freely from the gash in her leg has too little time.  It must be now!  The woman’s hand is pushing this way, her balance is swaying that.  Going with her movement, going against her poise, one thrust.  The knife goes where the knife chooses, and it chooses Mother’s throat.  The woman who devoted her life to care of the Hasuga child ends it by her own hand, by Alanee’s guidance.  Her windpipe severed and emitting bubbles of blood, Mother sinks to the floor, thrashes there for a second or two before dying.

Alanee’s rising vomit would choke her.  With no time for ceremony, she snatches Mother’s robe, using the bloodied knife to rend a strip from it.  She binds her leg tightly, so tightly she has to suppress a cry of pain.  Aghast at the pool of her own life that has already formed upon the switchback floor, she limps forward:  still hoping, still searching.  She promised she would not be long.  She promised she would return for Sala.  Her leg is ruptured, the muscle in her arm is slashed, disabled by the same knife; but she must find Sala.

The task is insuperable, random scenes passing before her so fast she can achieve no sense of direction.  In neither light nor darkness, she does not know where she is going, she cannot find anything constant to cling to.  The noise which pursues her is incessant now, an animal, an all-devouring thing.  People are scattering everywhere:  Ellar flits by, Trebec, the Domo.  And all the while her strength ebbs.

Utterly despondent, she ceases to try.  The hopelessness of her state, the certainty she will die before she ever reaches her friend overcomes her.  Whatever is happening to the city will consume her too.  There is no redemption, no answer.  There, amidst a rolling barrel of destruction Alanee drops to her knees and submits to fate.

Behind her the Continuum roars louder, a focussed beast sensing prey.

© Frederick Anderson 2020.  Unauthorized use and/or duplication of this material without express and written permission from the author is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Frederick Anderson with specific direction to the original content.

Image credit: Kristen from Pixabay

Continuum – Episode Twenty-Eight: Caverns old and Caverns Deep

Warning:  this episode has some erotic content.

In the previous episode:

Despite the Domo’s attempt to exclude her, Alanee is summoned to a meeting of High Council, where she predicts the burning of Balkinvel and converts many of the Councillors who did not believe in her.

Triumphant, she returns to her chambers to celebrate, and spends the night there with Sala…

Alanee has risen early.  To avoid disturbing Sala, who sleeps sweetly and deeply, she has extracted her fake book from its hiding place and paged Altor the Convenor.  They meet in the corridor outside her Chambers, from where, the book concealed beneath her courtier’s robes, she is guided to that elevator which last night transported her to the High Council.  This time, however, the elevator is programmed for a different destination:  it plunges deep; deeper, Alanee feels, into the soul of The City than she has ever been.  She remembers when Dag first brought her to The City through a tunnel less deep in the rock than this.  Counting the seconds, she endures Valtor’s stream of effusive flattery as they descend.  The gardens, perhaps even the mighty Balna River, will be many feet above her now.  She is in the bowels of the mountain, confined, perhaps trapped, beyond sight or hearing of the outer world.

She need only emerge from the elevator to see how limited is her means of escape.  She steps into a small foyer with the usual couches that typify ante-rooms or waiting areas in The City.  Other than the elevator by which she has arrived there is only one door – and such a door!  She had expected grandeur, perhaps – timbers made mighty by age, ornate iron hinges, carved devils and hobgoblins in ancient oak.  Not so.

The door before her is completely circular and fashioned from steel.  Its central capstan is clamped in place by chromed stanchions thick enough to deter the most ardent assault for a month.  The wall into which it is set is also steel, undecorated but for two staves which rest in brackets to either side of the door.  These, or rather their illuminated heads, provide what little light the foyer has –imbuing it with a severe, mournful atmosphere.

Altor turns a mechanism at the locking point of the stanchions through a ritual of numbers before spinning the capstan.  With a grudging hiss, the door releases, and by the humming effort of an electric motor somewhere, yawns reluctantly open.

“Lady, I may not pass through here.  I am a poor Convenor, I lack your greatness or worth.  You must proceed alone.  I will await you.”

Alanee peers through the thickness of the steel aperture the door has left.  She can see little beyond, but a narrow stair descending into gloom.  “I’ll need time to study.  I may be here all day!”

If Altor is at all discomfited by this, he shows no sign of it.  “Then I shall wait all day.”

Alanee can be equally stubborn.  “I don’t need you to stay.  You’re the Convenor – you may be required elsewhere.  Can’t I find my own way back?”

Altor’s face is set.  He has clearly been instructed to wait.

Is there something in the demeanour of this obsequious man that should toll a bell of warning?  Has he had other instructions too?  She will learn nothing more from him, however, so with a shrug that says there is no more to be done, Alanee steps through the aperture.

The way is almost – but not quite – dark.  This flight of steps is lit by torches at intervals along the walls.  At each footfall an echo returns, speaking to her of great mass and weight.    Here, deep in the bedrock, she is sure even the thoughts of Hasuga would be hard put to reach.

‘Did you think I could not hear you?’  The words flash inside her mind, and this time she greets them warmly, because she feels lonely and afraid.

‘Yes.’  Her mind replies:  ‘I should have realised, shouldn’t I?”

‘I am always near.’

A glow spreads through her, a sense of protection and – almost – friendship.  If he were physically near she might even be moved to kiss that grotesque head in sheer gratitude.  ‘Don’t go away, then.  This was your idea.’

Steps winding downward, on and on; Alanee feeling sure she is becoming closer to something, some indefinable thing that stirs inside her: in truth a descent probably no more than thirty feet or so before it ends.  Here; another open space, another door.

This time there are no seats to regale the weary climber.  The walls are rough-hewn from the very mountain itself.  There is no colour here other than grey, yet the lighting is brighter:  several stars of pinpoint light sparkle from above her head.

He sits in the corner, the man in the hempen smock she recognises because she has seen him before, in the wooden room that squats doorless within Cassix’s chambers, the room that will only open with mirrors.  And he, hunched in the earnestness of prayer, is just as she remembers.

He speaks:  “Lady Alanee?”  His voice is of dry leaves trodden.

“Yes Sire.”  She has no thought to address him by other than a regal title, though she has no notion how he might aspire, meanly dressed as he is, to any noble birth.  His skin is as crimped as rough linen and he is of the parchment wherewith the books he guards are made.  He is Karkus, as old, and as wise, as they.

“Pass, Lady.”

“Thank you, Sire Karkus, I will pass.”  Hasuga, how do I know his name?

Because you are who you are.  Yours is the knowledge of all things.

This time a simple door of planks is all that must swing open to admit her:  beyond, an archway, and beyond the arch a hall – a hall so unexpected by comparison with its ante-room that it takes Alanee’s breath away.

A perfectly circular chamber paved in white marble, it is lit by crystal white radiance from a high ceiling.  Around the continuous white wall are arrayed books; thousands upon thousands of volumes neatly shelved ten layers high.  At the very centre of this great library, upon a plinth of black granite, a tome larger than all the others lies open – its rich vellum spread flat by the weariness of use, its illuminated script greyed by age.  Alanee recognises this though she has never seen the original until now: it is the Book of Lore.

Here she might pause; stay for a moment to read truths so very few of the chosen ones have seen: yet she does not go to the Book of Lore.  Instead she moves toward a glazed case at the far side of this splendid repository, led straight towards it by the book that cries like a secret child beneath her robe.  She passes over the myriad of titles that stand protected by the glass, some in languages she does not understand and some she does:  though still a mystery to her because she has never read a book for its sake – ‘Catcher in the Rye’, ‘To Have and Have Not’, ‘Faustus’, ‘Endymion’, ‘A Jew of Malta’, Ulysses’.

 Alanee is drawn only to a single, untitled volume.  There, central upon a central shelf, the exact facsimile, the likeness.  Its door of defensive glass should be locked – is locked – yet it yields to her as if her touch is expected; without effort, without complaint.  She takes the one, puts the other, from its concealment in her robe, in its place.  All the while behind her, in the doorway, the ancient guardian watches, but does nothing.  When she turns towards him, a volume old as time within her grasp, his parched lips crack in a smile.

And when she takes the book in her hand, what happens then?  What vision consumes her?  It is as if the mysterious lock has no meaning, as if all the text of the work she grips so tightly is in her head without so much as turning a page, every word the instigation of a dream, a new story, a separate plot.  Passing before her are peoples she has never met, tribes cast out, cruel persecutors, gentle victims.  There are women faithless and faithful, engaged in their own pursuit of dreams, men generous and devious, wise and foolish, builders and slayers, workers and idolaters, wealthy and poor.

She does not mark her own progress, or see how she mounts the stairs once more; reaches the mighty door that has kept these truths so deeply buried for all the years; passes through.  She feels the eagerness of Hasuga with her in the text and he is reading as fast as or faster than she.  She feels the words bleeding out of her, to be re-joined by the millions already in his giant mind.  She feels….

“Lady Alanee!”

The elevator door stands open.  But it is not Valtor the Convenor who awaits her. It is High Councillor Portis.  She comes to herself, finding she holds the book openly in her hand.

Portis asks:  “What do you intend doing with that?”  His suspicions are confirmed, his fears realised.  “That book should never leave its case, still less the Inner Library.  You have scarcely risen to prominence, it seems, before you choose to abuse your good fortune.  A grave mistake, my Lady.”  His summoner is in his palm, the buttons already being pressed.  “Guards?”

Ever since she accepted Hasuga’s challenge the possibility of discovery has been uppermost in Alanee’s mind.  Her script is well rehearsed. 

“Sire, the error is yours,” She speaks clearly.  “Sire Hasuga himself gave me his permission to borrow this.”

Portis colours.  “That is a palpable lie!  Sire Hasuga has no knowledge of the book.  How can he?”

“How can he?”  Alanee attempts a laugh, though it sounds more reminiscent of a bray.   “He is all-seeing, Sire.  He knows of all your precious books!  And…”  She picks out her consonants like cuts of sharp steel, “he sees you now.  He hears your every word.”

‘Hasuga!  Help me!’

“Guards.” Portis repeats quietly.  “You are required at the Council elevator.  Lady Alanee is to be placed under arrest.”

He beckons.  Where else should she go?  At least when the elevator returns to the higher levels she will be closer to Hasuga, nearer to his power.  So, heart pounding, she meekly follows the High Councillor into the chamber of the elevator.  She is inside.  The doors close.

Hasuga, oh, Hasuga!  Where are you?

Is this a trap?  Could Hasuga have deceived her?  Suddenly she feels cold, very, very cold.   

“I am curious, I admit.”  Portis murmurs, indicating the book; “What can you want with that?  I mean, to risk so much. You do know what you have done?”

She conjures a desperate reply, “I thought to take it back to my Chambers to study it, Sire.  I didn’t intend any wrong.”

“But the book is locked, woman!  It has been unopened for as long as anyone has memory.”

“I am meant to have the gift of sight.  What if this book should contain the solution to the Continuum?  What if I can unlock it?”

“Something you will never have the opportunity to discover. Theft from the sacred library is a capital offence, Lady.  A high price for your presumption, is it not?”

Fearful now, Alanee has to swallow back a rising gorge to meet Portis’s stare. “Sire, it is just a book.”

What does she read in Portis’s face?  What does that unopened book reveal?  Is there a flicker of doubt there; a hint at hesitation?

“And you should have examined it where we are each allowed to read, those of us who are honoured to have that high privilege.  There is no excuse, Lady.”

“I could not open it in there.  Hasuga…”

Sire Hasuga.  Sire Hasuga, Lady!”

“Sire Hasuga then:  he guided me to it.  I am to glean the knowledge he wants from the book, so together we can unravel the mystery of the Continuum.  But I can only open it within Cassix’s rooms.   Sire, you have been inside there?  You remember the mirrors?  The mirrors can open things that are sealed, like that big wooden thing without any doors; they can show me inside there, as I am sure they can show me inside this book.”

Together with Sire Hasuga?”  Portis’s voice does not disguise his incredulity or his own lurking doubts.  “Your arrogance, Alanee, defies belief!  To assume such a thing in your private thoughts is blasphemy; but to utter it aloud, before a High Councillor!”  He pauses then.  Alanee wonders why the elevator has not moved and Portis, whose acuity she could never question, reads her thoughts.

“Curiously, you might think, there are no cameras here.  Above us, in the city, they dog our every step. But within the library, and this elevator space, solely reserved as it is for members of the High Council, there are none.”

“Sire?”

“We are not seen, here, Alanee.”  Portis seats himself in one of the velvet upholstered chairs, leaning back into the rich cushions.  “We are not heard here.”

Alanee stares at him.  “So, you’re saying…”

“I’m saying that our conversation has been confidential.  I am suggesting it might remain so.”

“Might, Sire?”

“How have you covered the theft of the book?”

“With a facsimile; a blank that looks exactly the same.”

Portis allows himself a smile.  “Cunning!  Therefore there is every chance the volume will not be missed?”

“Every chance, Sire.  But the guards have been summoned, have they not?”

“Not.”  Rising to his feet, Portis waves his summoner:  “This is switched off.”

Alanee’s heart leaps with hope.  “Then you believe me!”

“I will not say whether I believe you or not.  But I am the only one who knows you stole that book.”

“What about the old man, the librarian?”

Portis studies her quizzically.  “There was no one else in the library, Alanee: we do not have a ‘librarian’.”

At this reply Alanee at last asks herself why she felt no disquiet when she realised the old man had witnessed her substitution of the book:  she had accepted his presence as though he existed on a different level.  She begins to see a pattern, a circle.  Karkus, a spirit from a distant past:  (how can she be so sure it was he?) is part of that circle.  He wanted her to take the book.

“Sire Karkus?”  Portis’s interjects, and she realises she was reasoning aloud.  “What do you know of Sire Karkus?”

“He was present, Sire.  I took him to be the Librarian.  Maybe in a sense that’s what he is?”

“Dead for more than two thousand years is what he is, Lady.” 

“In one frame of time, maybe.  In another?  A ghost, then, if it suits you.  He was there.”  And she adds helpfully:  “Probably still is.”

“Ghosts! Frames of time! Librarians!”  Portis snorts:  “You have a gift, young lady, I will concede that  But a gift for imagination rather than second sight, I think!”

Alanee challenges.  “I imagine, then, that a part of you does doubt, a little?”

“My thoughts are my own business.  You are a thief.  That is my view; but….”  He weighs his words:  “I believe you may not intend to be entirely dishonest.  Therefore I am to be persuaded.”

Her stomach sinks.

“You have a bargaining chip,”  Portis attempts a smile, achieves a leer.  “You are an extremely lovely woman, Alanee.”

“So?”  She says heavily. 

“You are so young.  You cannot apprehend how desperately we who are grown past our prime still want a share in such beauty.  How we watch you, need you, as you pass us by, while you ignore us, pretend we do not exist?  Our bodies may alter Alanee, but our needs do not.  Do you see where this is going?”

“Oh, I do.”  She does.  There is a price to be paid…..

“You said once – what was your wonderfully apposite choice of phrase? Ah yes; if I wanted to ‘stare at your body’ I would have to ask. Well, I’m asking now.”

She cannot prevent the colour rising in her cheeks.  She says slowly:  “And is that all you are asking?”

All?”  Portis repeats bitterly.  “No, Alanee, that is not all.”

Tears inside her; mad, affronted tears she will not shed:  not for him.  “And if I do what you ask?”

“Then no guards will be waiting.  I will merely go into the Library for study of my own.  You will keep your Book to do with it as you will.  Now;” He rises to his feet, “Come here to me.”

His eyes have a hunger she cannot avoid: yet still she hesitates, hoping against hope there is some higher sense of honour in the man.  “Do you not think, Sire, that a gift only has value if it is willingly given?”

“No, Alanee, I do not.  Come here.”

“A minute, Sire.  Allow me this one minute, I beg you?”  She turns away, gazes up to the roof of the compartment for salvation.  There is none there, no Hasuga with a thunderbolt of retribution, only Portis’s graphically buxom nude pouting seductively down at her from its place on the wall.

  Hasuga, help me? 

With her back to Portis she uses the minute he has granted her, steels herself.  Taking a deep breath, she releases the brooch at her shoulder, shuddering to hear his gasp of gratification as her robe drops away.  Now she turns so he may feast his eyes on her and with only the book to conceal her womanhood, she walks toward him.

Portis cannot stay the convulsive shaking in his hand as he reaches out for her, and Alanee has learned enough of men to know that control of the situation has passed to her at that moment.  She must be in command, or she is done.  She has arts, skills she can use.  He must be hers, in her spell for just long enough, she hopes, that he will not notice how the elevator has begun to move.

Is there some perverse pleasure in this: no pleasure of loving, or giving, but the not unpleasing sensation of power?  Portis it was, who controlled this scene; who wished it, dictated the terms:  but who controls it now?  Like a puppet, she can make him twitch or dance, hold or give forth, at the behest of a touch or a word.  Profound though her inner self-loathing is, she has never felt (do you hear this, Hasuga?) more powerful than now.

‘I hear it.’

‘Where did you go?’

‘Nowhere.  I am always with you.  Portis cannot match you – I told you that, remember?  You do not need me for this.’

Portis’s fingers would slip like fat worms, but this she will not allow.

“Not yet, Sire, not yet.”  Instead she takes his hand and guides it, counting the seconds inside her head.  “Come closer to me; let me tease you, just a little.  See?  We almost touch, yet not?  Does this excite you, Sire?”

“Yes, oh yes!”

He is breathing, sweating heavily and she is counting – still counting seconds.

“Oh, Sire!  No!”  His touch is more aggressive now, his desire expressing itself in porcine grunts.  He has her at a disadvantage.  She has let herself be cornered.  His lips are pressing roughly, biting, hurting her.  She tries to thrust him away. “No Sire!  NO!  Leave me alone, Sire!  Get your hands – off – me.  NO!  NO PLEASE!  NO!”

Before Portis has noticed his change of fortunes the elevator door is open.  Lady Ellar stands before it, open-mouthed:  “Sire Portis!”

“Keep him away from me!”  In purple fury, Alanee snatches up her robe to cover the book, and with both gathered to shield her she runs naked from the scene. 

Ellar is too shocked.  She does not try to stop her.  Alanee’s summoner, with whose urgent fingers Ellar’s pager button was activated in those thoughtful seconds before she shed her robe, lies forgotten upon the elevator floor.

© Frederick Anderson 2020.  Unauthorized use and/or duplication of this material without express and written permission from the author is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Frederick Anderson with specific direction to the original content.

Photo credit: Art Tower, from Pixabay