The Mirrored Heavens
of missiles rise out of the gloom that swathes Belem-Macapa. The def-grids swing into action: satellites start raining countermeasures down upon those weapons—and upon the city beneath. The Operative winds his vision up and down the scale of magnification, takes in a blaze of lights, takes in the clouds of missiles climbing up the gravity well. Many are winking out of existence. Many are arcing back toward the Earth. Many just keep climbing. The Operative stares transfixed as they move toward him. He can’t see if they’re going to plunge down upon the planet or try to make it all the way to vacuum. But what he can see is that the city from which they launched is writhing under the def-grids’ barrage. If it was burning before, it’s positively incandescent now. The glow shining through the smoke is visible from space. The Operative can see it without amplification.
    Until a shutter slides across the window. The Operative tries to disconnect it. Nothing doing. He curses—and stops cursing as he feels the ship start to rumble. The attitudinal jets are firing. The Antares is turning on its axis. He braces himself for the burn that will send the ship hurtling toward the Moon and as far away from this mess as possible. He waits for it. But the seconds keep on ticking by.

    I t’s all happening around Haskell. But not in the way she expected. Suddenly the Jaguar net’s diminished: nearly all the terminal nodes vanish. Information flows behind in their wakes—shows the trail of exhaust that’s splattering over the naked faces of the instruments that sit in the physical world, shows Haskell ghost-images of things fast receding, swimming out into the sky that can’t even begin to match the one she’s in. She stares.
    She gets it.
    Even as they almost get her. They spot her for real. She doesn’t know how. Maybe it was some random check. Maybe it was their sudden shift to full war footing. Maybe they’ve been stalking her the whole time. It doesn’t matter. What matters is the long, scaled tongue that suddenly flicks toward her from out of the inky depths. She dodges. It misses. She retracts. It comes after her. She takes evasive action, takes herself in among all that data, does her best to blend in. All she needs is a moment. But it needs far less than that to nail her. It sails in toward her. She sees it as it really is: a grinning cat-skull that’s nothing but jaws enclosing her. She scatters herself into pieces, confuses it for a moment. But not nearly long enough. It looms before her eyes. She meets its eyes.
    But suddenly it’s reeling. It flails. She flails with it. What else can she do? This net is under attack. It’s being pummeled. It’s cauterizing whole sections of itself in the name of survival. Whole portions of existence are getting sheared off. The links to all those cities disappear. They’re gone. The lines through which she’s racing are buckling. Yet all the while the scattered fragments of her body are converging upon the light. She sees it now: the square that denotes transition. The door to salvation. The way out. She sails toward it. And still that tongue follows her. It reaches for her heart. It winds about her leg. She dissolves that leg. She raises her arms. She shouts.
    And jacks out.
    Smoke is streaming in front of her eyes. Sparks are coming off the cluster of screens. The room’s shaking—just as she’s being shaken by Morat. He pulls the jacks straight off her. Pieces of her skin go with them. She blinks. She bleeds. She looks at him. He looks at her. Smoke pours between them.
    “We have to leave right now,” he says quietly.
    “No shit,” she says.
    That’s when soldiers on thrusters land amidst them, haul them out of the room without a ceiling, over the maze that’s not a maze, back out into the warehouse. Back out to the elevator. The room’s on fire. Smoke’s pouring down the catwalks. Noise is everywhere. The soldiers cluster around them. Morat turns to one.

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