Jim Butcher - Cold Days

On the wall, the black gave way to a star field that panned down to a blue-and-green planet. Earth. Then it zoomed in and in and in until I recognized the outline of Lake Michigan and the other Great Lakes, and came closer still until it got to the outline of the island itself.

Bob is invaluable, but man, he loves his wisecracks and his drama.

The image sank down until it showed a familiar landing point, though it had no ruined town and no Whatsup Dock and no row of wooden piles in the water. It was just a little beach of dirt and sand and heavy, brooding forest growth.

Then a ribbon of light maybe eight feet long split the air vertically. The light broadened until it was maybe three feet wide, and then a figure appeared through it. I recognized the signs—someone had opened a Way, a passage from the Nevernever to the island. The figure emerged, made a gesture with one hand, and the Way closed behind it.

It was a man, fairly tall, fairly lean. He wore ragged clothing in many shades of grey. His grey cloak had a deep hood on it, and it shadowed his features, except for the tip of his nose and a short grey-white beard covering a rather pointy chin.

(Letters appeared at the bottom of the screen. They read: MERLIN.)

“Wait? You saw Merlin?” I asked Bob.

“Nah,” Bob said, “but I cast Alec Guinness. Looks good, right?”

I sighed. “Could you get to the point, please?”

“Oh, come on,” Bob said. “I wrote in this romance triangle subplot and cast Jenna Jameson and Carrie Fisher. There’s a love scene you’re gonna really —”

“Bob!”

“Okay, okay. Fine. Sheesh.”

The movie shifted into fast motion. The grey-clad figure became a blur. It walked about waving its arms, and directed oceans of energy here and there, settling them all in and around the substance of the island itself.

“Wait. Did Demonreach tell you how he did that?”

“No,” Bob said, annoyed. “It’s called artistic license, Harry.”

“Okay, I get it. Merlin built the island. However he did it. Get to the part with the problem.”

Bob sighed.

Merlin walked into the woods in comically fast motion and vanished. Then time passed. The sun streaked by hundreds and then thousands of times, the shadows of the island bowing and twisting, the trees rising, growing, growing old, and dying. At the bottom of the screen, words appeared that read, A LOT OF TIME PASSES.

“Thank you for dumbing that down for me,” I said.

“De nada.”

Then the camera slowed. Again, Merlin appeared. Again, oceans of power rose up and settled into the island. Then Merlin vanished, and more years passed. Maybe a minute later, he appeared again—looking exactly the same, I might add—and repeated the cycle.

“Hold on,” I said. “He did it again? Twice?”

“Ah,” Bob said, as a fourth cycle began on the screen. “Sort of. See, Harry, this is one of those things that you’re going to have trouble grabbing onto.”

“Go slow and try me.”

“Merlin didn’t build the prison five times,” Bob said. “He built it once. In five different times. All at the same time.”

I felt my brows knit. “Uh. He was in the same place, doing the same thing, in five different times at once?”

“Exactly.”

“That does not make any sense,” I said.

“Look, a mortal jail is built in three dimensions, right? Merlin built this one in four, and probably in several more, though you can’t really tell whether or not he built it in a given dimension until you go there and measure it, and the act of measuring it will change it, but the point is: This is really advanced stuff.”

I sighed. “Yeah. I’m getting that. But what’s wrong?”

The shot zoomed out, rising up to give a top-down view of the island, which became a blurry shape. A familiar five-pointed star blazed itself across the surface of the lake, its lines so long that the pentagon shape at its center enfolded the island entirely. Within the pentagon, a second pentacle formed, like the first one drawn in the manner to preserve and protect. The camera tightened in, and I saw that the second pentagon enfolded the entire hilltop where the cottage and ruined tower lay. The camera tightened more, and I saw more pentacles drawn, this time not flat but at dozens of intersecting angles, their centers encircling the dozen tunnels full of evil beings beneath the island.

“These,” Bob said, “represent the original enchantments on the island. This is vastly simplified, of course, but the basic star-and-circle architecture is the same as the work you do, Harry.”

Then the design blurred and increased, growing denser and more delicate and more brilliant in power, until something twinged in my brain and I had to look away from the diagram.

“Yeah, sorry about that, boss. This is meant to represent the entanglement of the spells being delivered at different times.”

“No wonder it was so complicated,” I muttered.

“And it’s even worse than this,” Bob said. “I’m filtering it down for you. And here’s the problem.”

I forced myself to look back at the projection, and saw those millions upon millions of spells resonating with one another, spreading and interlocking into an impenetrable barrier. It was, I thought, somehow like watching crystals grow. The spells powering the actual construction of it hadn’t been, alone, too much stronger than some of the work I had done—but when they’d been interconnected with their counterparts across time, they’d fed upon one another, created a perfect resonance of energy that had become something infinitely greater than the sum of its parts.

Then I saw the dissonance appear. Bob had chosen to show it as a sullen red light that began to pulse lightly at the westernmost edges of the great design. It began as something faint, but then, like an oncoming headache, started to throb into something larger and more noticeable. Where scarlet and blue light touched, there were ugly flares of energy—flares that I had been sensing ever since I’d gotten to the island. Before long, that scarlet pulse had spread to half the island, and then, abruptly, the screen went white.

Text at the bottom read, NOVEMBER 1.

“By tomorrow,” I said. “Super. But I still don’t see what is wrong , Bob.”

“Energy hits it,” Bob said. “A directed burst of energy, a whole lot of it. It unravels the whole containment spell Merlin laid down and triggers the fail-safe.”

“FIRE,” rumbled Demonreach.

“I figured that one out, thanks,” I said. “But nothing has actually happened to the spells yet?”

“Nope,” said Bob. “That tension that’s building? It’s . . . Well, think of it as cause and effect, only backward.”

“Huh?”

“What the island is experiencing now is the echo of the moment that burst of energy strikes it,” Bob said. “Only instead of the echo happening after, it’s happening first.”

I stopped and thought. “You’re telling me that the reason the island is about to blow up is . . . because it’s about to blow up?”

Bob sighed. “Someone hits the island with energy, Harry. But they’ve figured out how Merlin put this place together. They aren’t attacking it in three dimensions. They’re attacking in four . They’re sending power through time as well as through space.”

“So . . . I have to stop them from attacking the island tomorrow?”

“No,” Bob said, exasperated. “You have to stop them from attacking whenever it is that they actually attack .”

“Uh . . .”

“Look, the rock they’re throwing hits tomorrow,” Bob said. “But you have to stop them from throwing it at whatever point they’re standing when they throw it.”