"I am vile," she promises. "I am loathsome and sneaky, and you should hate me. What I am is an illness lurking inside you. A disease that steals exactly what I can steal without bringing your wrath."

The purge-ball appears, following a tall reddish ridge of flesh, bearing down on her hiding place.

She says, "Kill me, if you want. Or spare me, and I will do this for you." Then she unleashes a series of vivid images, precise and simple, meant to be compelling to any mind.

The purge-ball slows, its sterilizing lasers taking careful aim.

She repeats herself, knowing that thought travels only so quickly and The World is too vast to see her thoughts and react soon enough to save her. But if she can help...if she saves just a few hundred daughters...?

Lasers aim, and do nothing. Nothing. And after an instant of inactivity, the machine changes its shape and nature. It hovers above Escher, sending out its own tendrils. A careless strength yanks her free of her hiding place. Her tendrils and glues are ripped from her aching body. A scaffolding of carbon is built around her, and she is shoved inside the retooled purge-ball, held in a perfect darkness, waiting alone until an identical scaffold is stacked beside her.

A hard, angry voice boasts, "I did this."

"What did you do?" asks Escher.

"I made the World listen to reason." It sounds like Escher's voice, except for the delusions of power.

"I made a promise, and that's why He saved us."

With a sarcastic tone, she says, "Thank you ever so much. But now where are we going?"

"I won't tell you," her fellow prisoner responds.

"Because you don't know where," says Escher.

"I know everything I need to know."

"Then you're the first person ever," she giggles, winning a brief, delicious silence from her companion.

Other prisoners arrive, each slammed into the empty s.p.a.ces between their sisters and daughters.

Eventually the purge-ball is a prison-ball, swollen to vast proportions, and no one else is being captured.

Nothing changes for a long while. There is nothing to be done now but wait, speaking when the urge hits and listening to whichever voice sounds less than tedious.

Gossip is the common currency. People are desperate to hear the smallest glimmer of news. Where the final rumor comes from, n.o.body knows if it's true. But the woman who was captured moments after Escher claims, "It comes from the world Himself. He's going to put us where we can do the most good."

"Where?" Escher inquires.

"On a tooth," her companion says. "The right incisor, as it happens." Then with that boasting voice, she adds, "Which is exactly what I told Him to do. This is all because of me."

"What isn't?" Escher grumbles.

"Very little," the tiny prisoner promises. "Very, very little."

THE SPEAKER.

"We walk today on a thousand worlds, and I mean 'walk'in all manners of speaking." He manages a few comical steps before shifting into a graceful turn, arms held firmly around the wide waist of an invisible and equally graceful partner. "A hundred alien suns bake us with their perfect light. And between the suns, in the cold and dark, we survive, and thrive, by every worthy means."

Now he pauses, hands forgetting the unseen partner. A look of calculated confusion sweeps across his face. Fingers rise to his thick black hair, stabbing it and yanking backward, leaving furrows in the unruly ma.s.s.

"Our numbers," he says. "Our population. It made us sick with worry when we were ten billion standing on the surface of one enormous world. 'Where will our children stand?' we asked ourselves. But then in the next little while, we became ten trillion people, and we had split into a thousand species of humanity, and the new complaint was that we were still too scarce and spreadtoo far apart. 'How could we matter to the universe?' we asked ourselves. 'How could so few souls endure another day in our immeasurable, uncaring universe?' "

His erect p.e.n.i.s makes a little leap, a fat and vivid white drop of s.e.m.e.n striking the wooden stage with an audible plop.

"Our numbers," he repeats. "Our legions." Then with a wide, garish smile, he confesses, "I don't know our numbers today. No authority does. You make estimates. You extrapolate off data that went stale long ago. You build a hundred models and fashion every kind of vast number. Ten raised to the twentieth power. The thirtieth power. Or more." He giggles and skips backward, and with the giddy, careless energy of a child, he dances where he stands, singing to lights overhead, "If you are as common as sand and as unique as snowflakes, how can you be anything but a wild, wonderful success?"

ABLE.

The wild man is enormous and powerful, and surely brilliant beyond anything that Able can comprehend-as smart as City as a whole-but despite his gifts, the man is obviously terrified. That he can even manage to stand his ground astonishes Able. He says as much to Mish, and then he glances at her, adding, "He must be very devoted to whoever's inside."

"Whoever's inside what?" she asks.

"That trap." He looks straight ahead again, telling himself not to waste time with the girl. She is foolish and bad-tempered, and he couldn't be any more tired of her. "I think that's what the cylinder is," he whispers. "A trap of some kind. And someone's been caught in it."

"Well, I don't care who," she snarls.

He pretends not to notice her.

"What was that?" she blurts. "Did you hear that-?"

"No," Able blurts. But then he notices a distant rumble, deep and faintly rhythmic, and with every breath, growing. When he listens carefully, it resembles nothing normal. It isn't thunder, and it can't be a voice. He feels the sound as much as he hears it, as if some great ma.s.s were being displaced. But he knows better. In school, teachers like to explain what must be happening now, employing tortuous mathematics and magical sleights of hand. Matter and energy are being rapidly and brutally manipulated.

The universe's obscure dimensions are being twisted like bands of warm rubber. Able knows all this. But still, he understands none of it. Words without comprehension; froth without substance. All that he knows for certain is that behind that deep, unknowable throbbing lies something even farther beyond human description.

The wild man looks up, gray eyes staring at that something.

He cries out, that tiny sound lost between his mouth and Able. Then he produces what seems to be a spear-no, an elaborate missile-that launches itself with a bolt of fire, lifting a sophisticated warhead up into a vague gray s.p.a.ce that swallows the weapon without sound, or complaint.

Next the man aims a st.u.r.dy laser, and fires. But the weapon simply melts at its tip, collapsing into a smoldering, useless ma.s.s at his feet.

Again, the wild man cries out.

His language could be a million generations removed from City-speech, but Able hears the desperate, furious sound of his voice. He doesn't need words to know that the man is cursing. Then the swirling grayness slows itself, and parts, and stupidly, in reflex, Able turns to Mish, wanting to tell her, "Watch. You're going to see one of Them."

But Mish has vanished. Sometime in the last few moments, she jumped off the world's rim and ran away, and save for the fat old leopard sleeping between the horsetails, Able is entirely alone now.

"Good," he mutters.

Almost too late, he turns and runs to the very edge of the granite rim.

The wild man stands motionless now. His bowels and bladder have emptied themselves. His handsome, G.o.dly face is twisted from every flavor of misery. Eyes as big as windows stare up into what only they can see, and to that great, unknowable something, the man says two simple words. "f.u.c.k you," Able hears.

And then the wild man opens his mouth, baring his white apish teeth, and just as Able wonders what's going to happen, the man's body explodes, the dull black burst of a shaped charge sending chunks of his face skyward.

PROCYON.

One last time, she whispers her son's name.

She whispers it and closes her mouth and listens to the brief, sharp silence that comes after the awful explosion. What must have happened, she tells herself, is that her boy found his good sense and fled.

How can a mother think anything else? And then the ominous deep rumbling begins again, begins and gradually swells until the walls of the trap are shuddering and twisting again. But this time the monster is slower. It approaches the trap more cautiously, summoning new courage. She can nearly taste its courage now, and with her intuition, she senses emotions that might be curiosity and might be a kind of reflexive admiration. Or do those eternal human emotions have any relationship for what It feels...?

What she feels, after everything, is numbness. A terrible deep weariness hangs on her like a new skin.

Procyon seems to be falling faster now, accelerating down through the bottomless trap. But she doesn't care anymore. In place of courage, she wields a muscular apathy. Death looms, but when hasn't it been her dearest companion? And in place of fear, she is astonished to discover an incurious little pride about what is about to happen: How many people-wild free people like herself-have ever found themselves so near one of Them?

Quietly, with a calm, smooth and slow voice, Procyon says, "I feel you there, you. I can taste you."

Nothing changes.

Less quietly, she says, "Show yourself."

A wide parabolic floor appears, gleaming and black and agonizingly close. But just before she slams into the floor, a wrenching force peels it away. A brilliant violet light rises to meet her, turning into a thick sweet syrup. What may or may not be a hand curls around her body, and squeezes. Procyon fights every urge to struggle. She wrestles with her body, wrestles with her will, forcing both to lie still while the hand tightens its grip and grows comfortable. Then using a voice that betrays nothing tentative or small, she tells what holds her, "I made you, you know."

She says, "You can do what you want to me."

Then with a natural, deep joy, she cries out, "But you're an ungrateful glory...and you'll always belong to me...!"

ESCHER.

The prison-ball has been reengineered, slathered with camouflage and armor and the best immune-suppressors on the market, and its navigation system has been adapted from add-ons stolen from the finest trashcans. Now it is a battle-phage riding on the sharp incisor as far as it dares, then leaping free. A thousand similar phages leap and lose their way, or they are killed. Only Escher's phage reaches the target, impacting on what pa.s.ses for flesh and launching its cargo with a microscopic railgun, punching her and a thousand sisters and daughters through immeasurable distances of senseless, twisted nothing.

How many survive the attack?

She can't guess how many. Can't even care. What matters is to make herself survive inside this strange new world. An enormous world, yes. Escher feels a vastness that reaches out across ten or twelve or maybe a thousand dimensions. How do I know where to go? she asks herself. And instantly, an a.s.sortment of possible routes appear in her consciousness, drawn in the simplest imaginable fashion, waiting and eager to help her find her way around.

This is a last gift from Him, she realizes. Unless there are more gifts waiting, of course.

She thanks n.o.body.

On the equivalent of tiptoes, Escher creeps her way into a tiny conduit that moves something stranger than any blood across five dimensions. She becomes pa.s.sive, aiming for invisibility. She drifts and spins,watching her surroundings turn from a senseless glow into a landscape that occasionally seems a little bit reasonable. A little bit real. Slowly, she learns how to see in this new world. Eventually she spies a little peak that may or may not be ordinary matter. The peak is pink and flexible and sticks out into the great artery, and flinging her last tendril, Escher grabs hold and pulls in snug, knowing that the chances are lousy that she will ever find anything nourishing here, much less delicious.

But her reserves have been filled again, she notes. If she is careful-and when hasn't she been-her energies will keep her alive for centuries.

She thinks of the World, and thanks n.o.body.

"Watch and learn," she whispers to herself.

That was the first human thought. She remembers that odd fact suddenly. People were just a bunch of grubbing apes moving blindly through their tiny lives until one said to a companion, "Watch and learn."

An inherited memory, or another gift from Him?

Silently, she thanks Luck, and she thanks Him, and once again, she thanks Luck.

"Patience and planning," she tells herself.

Which is another wise thought of the conscious, enduring ape.

THE LAST SON.

The locked gates and various doorways know him-recognize him at a glance-but they have to taste him anyway. They have to test him. Three people were expected, and he can't explain in words what has happened. He just says, "The others will be coming later," and leaves that lie hanging in the air. Then as he pa.s.ses through the final doorway, he says, "Let no one through. Not without my permission first."

"This is your mother's house," says the door's AI.

"Not anymore," he remarks.

The machine grows quiet, and sad.

During any other age, his home would be a mansion. There are endless rooms, rooms beyond counting, and each is enormous and richly furnished and lovely and jammed full of games and art and distractions and flourishes that even the least aesthetic soul would find lovely. He sees none of that now.

Alone, he walks to what has always been his room, and he sits on a leather recliner, and the house brings him a soothing drink and an intoxicating drink and an a.s.sortment of treats that sit on the platter, untouched.

For a long while, the boy stares off at the distant ceiling, replaying everything with his near-perfect memory. Everything. Then he forgets everything, stupidly calling out, "Mother," with a voice that sounds ridiculously young. Then again, he calls, "Mother." And he starts to rise from his chair, starts to ask the great empty house, "Where is she?"

And he remembers.

As if his legs have been sawed off, he collapses. His chair twists itself to catch him, and an army of AIs brings their talents to bear. They are loyal, limited machines. They are empathetic, and on occasion, even sweet. They want to help him in any fashion, just name the way...but their appeals and their smart suggestions are just so much noise. The boy acts deaf, and he obviously can't see anything with his fists jabbed into his eyes like that, slouched forward in his favorite chair, begging an invisible someone for forgiveness....

THE SPEAKER.

He squats and uses the tip of a forefinger to dab at the puddle of s.e.m.e.n, and he rubs the finger against his thumb, saying, "Think of cells. Individual, self-reliant cells. For most of Earth's great history, they ruled. First as bacteria, and then as composites built from cooperative bacteria. They were everywhere and ruled everything, and then the wild cells learned how to dance together, in one enormous body, and the living world was transformed for the next seven hundred million years."

Thumb and finger wipe themselves dry against a hairy thigh, and he rises again, grinning in that relentless and smug, yet somehow charming fashion. "Everything was changed, and nothinghad changed," he says. Then he says, "Scaling," with an important tone, as if that single word should erase all confusion. "The bacteria and green algae and the carnivorous amoebae weren't swept away by any revolution. Honestly, I doubt if their numbers fell appreciably or for long."

And again, he says, "Scaling," and sighs with a rich appreciation. "Life evolves. Adapts. Spreads and grows, constantly utilizing new energies and novel genetics. But wherever something large can live, a thousand small things can thrive just as well, or better. Wherever something enormous survives, a trillion bacteria hang on for the ride."

For a moment, the speaker hesitates.

A slippery half-instant pa.s.ses where an audience might believe that he has finally lost his concentration, that he is about to stumble over his own tongue. But then he licks at the air, tasting something delicious. And three times, he clicks his tongue against the roof of his mouth.

Then he says what he has planned to say from the beginning.

"I never know whom I'm speaking to," he admits. "I've never actually seen my audience. But I know you're great and good. I know that however you appear, and however you make your living, you deserve to hear this: "Humans have always lived in terror. Rainstorms and the eclipsing moon and earthquakes and the ominous guts of some disemboweled goat-all have preyed upon our fears and defeated our fragile optimisms. But what we fear today-what shapes and reshapes the universe around us-is a child of our own imaginations.

"A whirlwind that owes its very existence to glorious, endless us!"

ABLE.

The boy stops walking once or twice, letting the fat leopard keep pace. Then he pushes his way through a last wall of emerald ferns, stepping out into the bright damp air above the rounded pool. A splashing takes him by surprise. He looks down at his secret pool, and he squints, watching what seems to be a woman pulling her way through the clear water with thick, strong arms. She is naked. Astonishingly, wonderfully naked. A stubby hand grabs an overhanging limb, and she stands on the rocky sh.o.r.e, moving as if exhausted, picking her way up the slippery slope until she finds an open patch of halfway flattened earth where she can collapse, rolling onto her back, her smooth flesh glistening and her hard b.r.e.a.s.t.s shining up at Able, making him sick with joy.

Then she starts to cry, quietly, with a deep sadness.

l.u.s.t vanishes, replaced by simple embarra.s.sment. Able flinches and starts to step back, and that's when he first looks at her face.

He recognizes its features.

Intrigued, the boy picks his way down to the sh.o.r.eline, practically standing beside the crying woman.