Майкл Бишоп - The Final Frontier - Stories of Exploring Space, Colonizing the Universe, and First Contact

Yet I do. The vid can save us, if the authorities come back. Turtle, Karl, even Squishy can testify to my rules. And my rules state that an obviously dangerous site should be avoided. Probes get to map places like this first.

Only I know J&J didn’t send in a probe. They might not have because we lost the other so easily, but most likely, it was that greed, the same one which has been affecting me. The tantalizing idea that somehow, this wreck, with its ancient secrets, is the dive of a lifetime—the discovery of a lifetime.

And the hell of it is, beneath the fear and the panic and the anger—more at myself than at Squishy for breaking our pact—that greed remains.

I’m thinking, if we can just get the stealth tech before the authorities arrive, it’ll all be worth it. We’ll have a chip, something to bargain with.

Something to sell to save our own skins.

Junior goes in. His father doesn’t tell him not to. Junior’s blurry on the vid—a human form in an environmental suit, darker than the pile of things in the center of the room, but grayer than the black around them.

And it’s Junior who says, “It’s open,” and Junior who mutters “Wow” and Junior who says, “Jackpot, huh?” when I thought all of that had been a dialogue between them.

He points at a hole in the pile, then heads toward it, but his father moves forward quickly, grabbing his arm. They don’t talk—apparently that was the way they worked, such an understanding they didn’t need to say much, which makes my heart twist—and together they head around the pile.

The cockpit shifts. It has large screens that appear to be unretractable. They’re off, big blank canvases against dark walls. No windows in the cockpit at all, which is another one of those technologically arrogant things—what happens if the screen technology fails?

The pile is truly in the middle of the room, a big lump of things. Why Jypé called it a battlefield, I don’t know. Because of the pile? Because everything is ripped up and moved around?

My arms get even tighter, my fists clenched so hard my knuckles hurt.

On the vid, Junior breaks away from his father, and moves toward the front (if you can call it that) of the pile. He’s looking at what the pile’s attached to.

He mimes removing pieces, and the cameras shake. Apparently Jypé is shaking his head.

Yet Junior reaches in there anyway. He examines each piece before he touches it, then pushes at it, which seems to move the entire pile. He moves in closer, the pile beside him, something I can’t see on his other side. He’s floating, head first, exactly like we’re not supposed to go into one of these spaces—he’d have trouble backing out if there’s a problem—

And of course there is.

Was.

“Ah, hell,” I whisper.

Karl nods. Turtle puts her head in her hands.

On screen nothing moves.

Nothing at all.

Seconds go by, maybe a minute—I forgot to look at the digital readout from earlier, so I don’t exactly know—and then, finally, Jypé moves forward.

He reaches Junior’s side, but doesn’t touch him. Instead the cameras peer in, so I’m thinking maybe Jypé does too.

And then the monologue begins.

I’ve only heard it once, but I have it memorized.

Almost time .

Dad, you’ve gotta see this .

Jypé’s suit shows us something—a wave? A blackness? A table?—something barely visible just beyond Junior. Junior reaches for it, and then—

Fuck!

The word sounds distorted here. I don’t remember it being distorted, but I do remember being unable to understand the emotion behind it. Was that from the distortion? Or my lack of attention?

Jypé has forgotten to use his cameras. He’s moved so close to the objects in the pile that all we can see now are rounded corners and broken metal (apparently these did break off then) and sharp, sharp edges.

Move your arm .

But I see no corresponding movement. The visuals remain the same, just like they did when I was watching from the skip.

Just a little to the left .

And then:

We’re five minutes past departure .

That was panic. I had missed it the first time, but the panic began right there. Right at that moment.

Karl covers his mouth.

On screen, Jypé turns slightly. His hands grasp boots and I’m assuming he’s tugging.

Great . But I see nothing to feel great about. Nothing has moved. Keep going .

Going where? Nothing is changing. Jypé can see that, can’t he?

The hands seem to tighten their grip on the boots, or maybe I’m imagining that because that’s what my hands would do.

We got it .

Is that a slight movement? I step away from the wall, move closer to the vid, as if I can actually help.

Now careful .

This is almost worse because I know what’s coming, I know Junior doesn’t get out, Jypé doesn’t survive. I know—

Careful—son of a bitch!

The hands slid off the boot, only to grasp back on. And there’s desperation in that movement, and lack of caution, no checking for edges nearby, no standard rescue procedures.

Move, move, move—ah, hell .

This time, the hands stay. And tug—clearly tug—sliding off.

C’mon .

Sliding again.

C’mon son ,

And again.

just one more ,

And again.

c’mon, help me, c’mon .

Until, finally, in despair, the hands fall off. The feet are motionless, and, to my untrained eye, appear to be in the same position they were in before.

Now Jypé’s breathing dominates the sound—which I don’t remember at all—maybe that kind of hiss doesn’t make it through our patchwork system—and then vid whirls. He’s reaching, grabbing, trying to pull things off the pile, and there’s no pulling, everything goes back like it’s magnetized.

He staggers backwards—all except his hand, which seems attached—sharp edges? No, his suit wasn’t compromised—and then, at the last moment, eases away.

Away, backing away, the visuals are still of those boots sticking out of that pile, and I squint, and I wonder—am I seeing other boots? Ones that are less familiar?—and finally he’s bumping against walls, losing track of himself.

He turns, moves away, coming for help even though he has to know I won’t help (although I did) and panicked—so clearly panicked. He gets to the end of the corridor, and I wave my hand.

“Turn it off.” I know how this plays out. I don’t need any more.

None of us do. Besides, I’m the only one watching. Turtle still has her face in her hands, and Karl’s eyes are squinched shut, as if he can keep out the horrible experience just by blocking the images.

I grab the controls and shut the damn thing off myself.

Then I slide onto the floor and bow my head. Squishy was right, dammit. She was so right. This ship has stealth tech. It’s the only thing still working, that one faint energy signature that attracted me in the first place, and it has killed Junior.

And Jypé.

And if I’d gone in, it would’ve killed me.

No wonder she left. No wonder she ran. This is some kind of flashback for her, something she feels we can never ever win.

And I’m beginning to think she’s right, when a thought flits across my brain.

I frown, flick the screen back on, and search for Jypé’s map. He had the system on automatic, so the map goes clear to the cockpit.

I superimpose that map on the exterior, accounting for movement, accounting for change—

And there it is, clear as anything.

The probe, our stuck probe, is pressing against whatever’s near Junior’s faceplate.