David Williams - Mirrored Heavens

Nor is he the only one with that idea. The mob’s afoot at every level of the town. They’re swarming over the skyways, doing their utmost to escape. Marlowe’s trying to take the road less traveled. He’s trying to avoid the stampede.

Not to mention the fighting. Which is everywhere. Machines swarm like insects. The local militias are giving everything they’ve got. Before tonight, most of them would never have dared to take on the United States directly. Now they’ve got the inspiration. Or maybe just the insanity. And wherever the Americans aren’t in range, old scores are being settled. Local rivalries are being carried through to culmination. Artillery’s going to work from the rooftops, even as those rooftops get sheared off. Vehicles are exchanging fire with one another as they move along those bridges. Hi-ex is going off like it’s going out of style. The further out of control this gets the more Marlowe recalls being told how smooth it was all going to be. He can see the faces of his handlers all too clearly—those honeyed words, those knowing smiles. It’s all he can do to stop himself from smiling now.

But he restrains himself.

The Operative is having difficulty keeping himself in check. He’s cut off, with no way to tell what’s going on outside. There may still be trouble on the Elevator. There’s definitely still trouble going on below. He envisions all strategic reserves being rushed into the Latin cities: troops dropping down from orbit, buildings getting smashed, whole blocks laid to waste.

But all that’s only retaliation. It can’t turn back the clock. Nor can it tell him what’s going on. Is there a connection between the mutiny on the Elevator and the missiles from the city? Could some of those missiles have been aimed at the Elevator? The Operative doesn’t know. Nor does he know the extent to which he’s already caught up in it. He’d love to just ride this one out. He’d be happy to just slip right on by. He doubts that’s going to happen.

So now he’s thinking furiously. The Elevator. The Earth. This ship: in theory, crew of two. But in practice, God only knows how many they’ve got in that cockpit. And if they end up turning out to be hostile, that’s not the only place they might be. Adjacent to his feet are hatches leading to the cargo-modules. There’s a lot of volume that way. The Operative pictures all those chambers. He pictures all that cargo. He thinks of how easy it would be to hide in there….

With an effort, he draws himself back from his own mind’s edge. There’s a reason they sent him. It may be the reason he’s in this right now. He can’t make any assumptions. Least of all about the nature of the mission. Missions have a way of changing. They also have a way of only revealing their true nature once they’ve started. Besides—if there really is any trouble on this ship, he knows what to do. He won’t even have to think. However many of them there are: he’ll make them wish they never heard the word airlock . In truth he’s starting to feel that way already. He’s starting to wonder why he’s waiting. After all, those bastards in the cockpit have cut him off, deprived him of his data. He’s in dire need of more. He can think of exactly one way to get it.

Haskell becomes aware that something’s wrong. She’s cold. She’s wet. She doesn’t know where she is. All she knows is she’s tilting on her side. There’s a noise coming from somewhere. A voice.

“Ma’am. Can you hear me, ma’am?”

“I can,” she mumbles.

“You’ve got to wake up.”

“Why?”

It all comes back in one awful rush. They’ve crashed. This is aftermath. She opens her eyes. She’s still strapped into the cabin of the jet-copter. It’s mostly dark. It’s leaning toward one side at a nasty angle. It’s half-filled with water. The gunner’s lying in that water, body contorted at unnatural angles. The upside-down face of the pilot is peering into her own. He’s leaning down from the hatch that’s now become the ceiling.

“Where are we?”

“We’re in the drink,” he says. “And you’ll be in your grave if you don’t take those straps off and climb up here. Can you do it?”

“I don’t know,” she replies.

“Try.”

So she does. She undoes the straps. She hauls herself up them to where the man’s hands are waiting. She ignores those hands—instead grasps the edge of the hatch. Everything hurts. But it seems like it’s all still functional. She pulls herself up onto the top of the stricken jet-copter. She crouches there, takes in the river. The water’s lit up by the flames licking from buildings on either side of shore. A mirror image of those flames looms within the water, torn through with ships. Cranes tower over Haskell’s head. Tracers and lasers whip through the smog. It looks like a total free-for-all.

“This isn’t good,” she says.

“No,” he says. “It really isn’t.”

“Is your gunner dead?”

“He isn’t the only one.”

She looks at him. He seems very young. He doesn’t seem scared. He crouches there with her.

“You’re beautiful,” he murmurs.

“We’re not going to die,” she replies.

She pulls on her breath-mask. There’s a whining in the air close at hand. The pilot looks at her in surprise. His eyes cease to focus—he tumbles off the ’copter and into the water. Haskell throws herself back inside the craft as more bullets strike its hull. She hangs from the door’s edge, her feet dangling in the water that’s flooding the craft. She pulls her head up through the doorway.

To find herself gazing at figures on the far shore. They’re sweeping her position with fire. They’re cramming themselves into ships that line the docks—ships that now float out into the water, start their motors. Shots smash in around Haskell. Shouts carry across the water. The words that shouting contains aren’t coherent. They don’t need to be. Haskell’s never heard such venom. She’s beaming out the emergency evac codes. She’s praying. She’s getting no response from either. She resolves to do the only logical thing before they get their hands on her. She takes out the pistol Morat gave her, checks it over. She starts counting off the final seconds.

Marlowe’s picking up steam. He’s out of the worst trouble spots. He’s got his thrusters going. He’s more than halfway through the city. He’s going straight on through till he gets out into country. It’s a simple plan. It doesn’t need to get complex. Nothing’s touching him. Nothing’s seeing him. He’s got it made.

It’s then he gets the call.

“Marlowe,” says the voice.

“Yeah.”

“We need you to take a little detour.”

“Yeah?”

“We’ve got an asset down near you.”

“So?”

“So we need it picked up.”

“This suit’s taken a beating. You’ve got no one else who can do it?”

“If we did, I wouldn’t be calling. We’re coming apart at the seams, Marlowe. We’ve got a grade-A disaster on our hands.”

“Which I’m almost clear of.”

“And you’ll get clear again. You’re hell on wheels, Marlowe. You’ve got to make all speed. Over and out.”

Even as the last words are reaching Marlowe’s ears, coordinates flare before him. They show city. They show river. They show the point where he needs to be. They show his own position—now rapidly changing direction.