New Blood Logs:
Tom Noon's Tale
NewEuropa
In Chaos
Voyages of the Nones
Meanwhile...
Destine
Mother Goose Chase
Ancient Oz
Varkard
Adventures of the Munch
Lanthil & Beyond
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When we left our heroes last time, they were investigating the Mystery
of the Missing Martians. They had established that the Martian
colonists of Percy were (1) leaving voluntarily, and (2) seriously out
of place, displaying anachronistic or anamundistic powers and
technologies. They had also lost the cat and, most recently, lost the
connection to Mars, thus stranding Markel there in Percy, in the Martian
night, with suspicious police officers on the prowl around him.
Of course, since we now are completely unconnected to that entire
continuum, we don't have to worry about anything more happening while
we're gone. Time is not passing. We pause to think.
Robbie suggests that we solve the cat problem by being the reason
Brunalf mysteriously vanished. We go back a few minutes and snatch him
from the place we saw him vanish. Kate, Dafnord, and Tom all flinch.
The technical term for this kind of move is "causal substitution," and
it can be done, but you usually have a known prior cause you wish to
preclude, and this particular one involves very tight timing, and...
They are very uncomfortable with the idea.
We decide to retrieve Markel first. He's simple. We just need to
re-open a window on Mars, move it up to Markel, then turn it into a
door. The only complication is all those psychic cops out there in the
night, who might notice if we try to contact Markel telepathically. Not
to worry -- Markel is carrying a calling-card. Robbie can simply phone
him. (The calling card beeps a little when you call on it, but not too
much, we hope.)
Tom re-opens the window at the exact point in spacetime where we left
off. This was with a Martian cop dropping down out of the air in front
of us. As he finishes dropping, there is a brilliant flash of light.
Several of us are dazzled, but not Tom, who was luckily looking at the
helm when it happened. (The gargoyle, finding its current eyes dazzled,
decides to grow a third. No one notices immediately.) He moves the
window off in the general direction of Markel.
Looking back, we see the cop completing a duck-and-roll, and come up,
blinking, trying to cover where the door was. So he probably had
nothing to do with the flash, and now doesn't know where we are. Good.
We see some cop cars land near him.
We switch from window to door, and Robbie pings Markel's card. Now
picture recent events from Markel's perspective. There was a brilliant
flash in the distance, and the telepathy net went down. A few moments
later, his card beeps. He thinks a little before answering it, but
finally does so. Robbie explains briefly, and we agree to meet him at
the shop where we saw the couple breaking in earlier.
While the cops resume searching for us mysterious intruders, Tom asks
the Avatar if it has any quick explanations for the flash. It opines
that it may have been caused by interference between the window and its
own earlier self. Sounds good. Certainly, there is no new flash when
we shift back to window, move to the door of the shop, and shift back to
door. Robbie calls Markel once more and tells him to come in.
New problem: Markel is glamoured invisible at the moment, and with the
cops out, he won't want to remove it. Well, if we can't see him, he can
see us. Tom makes the edges of the door glow gently. After a short
wait, we see a series of interesting dark blobs moving in the door --
cross-sections of Markel as he comes in. We then remove the glamour. A
cop also spots the glowing doorframe, but we take it down long before he
gets here. We note the coordinates and disconnect.
Now for the cat. We decide to just dowse for him through the omniport.
Tom tries, fails dramatically, staggers a bit, and asks Kate to try.
She fails. Perhaps we need a token of the cat? Robbie steps through
the other omniport, to the Munch, and collects some cat hair from
Brunalf's cabin.
Mirien, meanwhile, tells us of rumors -- only rumors -- of "witchstorms"
that could have sucked Brunalf onto a witchpath in the manner we
observed.
Equipped with a pinch of cat hair, Kate tries again and succeeds -- sort
of. We open a window on Brunalf ... some weeks ago, grooming himself in
his cabin on the Munch.
(By now, Dafnord is trying to decide if he really saw a third eye on the
gargoyle, which has since resorbed it.)
Tom is recovered by now and tries tuning in to the contemporary
Brunalf. The window turns gray, apparently filled with spinning,
blowing mist, accented with white sparkles. Salimar now takes a hand,
trying to reach Brunalf by her interdimensional telepathy. She gets a
hint and Tom hands the helm over to her. Soon, she has a clairvoyant
sight of the cat surrounded by whitish mist, apparently facing into a
wind. We are able to bring the window to that image, open it as a door,
and get Brunalf back in.
We also get a chunk of the whitish mist, which tends to roll around the
deck in a semi-cohesive ball. It has something of the psychic flavor of
Chaos' Rim, though we are unable to wish anything out of it.
Eventually, we squish it down and store it in a box.
Tom asks Brunalf for an account, and the cat offers to be
memory-audited. Doing so, Tom learns that, when he vanished, he found
himself suddenly sliding down, or so it seemed. Then he realized it was
the stiff wind, with the witch-sight markers twirling and sparkling in
great agitation about him. Very shortly after that, we tuned in on him.
So, was this a witchstorm? Maybe.
We decide to go back and watch the rest of the vanishment. It is, after
all, what we came to do. Dafnord, however, is suspicious of the large
number of cop cars that turned out for a simple traffic accident. This,
plus all the other weirdness we've observed, means we should be
cautious.
We re-open our window at the shop, trying for just a moment later. We
get a bit of a flash, but nothing like so bad. We move the window up
near the zenith of the town dome and, from there, watch one of the cops
come up to the shop door and feel about it with his hands. We strongly
suspect he is looking for psychic traces of us.
With some good clairvoyance from Salimar, plus our well-placed window,
we watch and record what happens next:
The cop turns from the shop door when he hears some thrumming noise. He
smiles as he sees the arrival of eighteen aircycles, in three groups of
six, each half-dozen clad in their own uniforms, red, green, or black,
similar in cut to the cops' own bright blue. They begin patrolling the
edge of the park, soon joined by cops.
The cop and the shop-door is joined by another. They hold hands and
probe about the door with metal batons, doing something psychic that
feels rather like fay glamour.
About then, there's a much louder, deeper thrumming, and several sir
trucks show up. People in futuristic civilian garb (even a little too
futuristic for this date) get out and start hauling crates about, and
setting up tables. Soon, a large platform takes shape in the middle of
the park. More color-coded half-dozens have shown up on air-cycles,
including some in rich purple. General citizens begin drifting in. The
tables are now laden with paperwork, books, and pens. A very final
exam?
The cops now have other things to do besides puzzle out Markel's
tracks. They turn the job of examining the shop door over to a trio of
older people, a woman and two men, one man much older. Only... They
don't really look old once you examine them closely, though they do
have white hair, and the "eldest" limps a little. They wield wizardly
staves and wear very long vests. They poke about arcanely, shake their
heads, and do something that produces a golden cross of light over the
door, with a circle over it. This fades. We appear to have been
exorcized. It didn't hurt a bit.
The wizardly trio return to the crowd in the park, which is growing
steadily. There are even street vendors in it, selling snacks. The end
of the world as block-party. We notice what may be other, lesser
wizard-types in the crowd, distinguished by lighter-colored, longer-cut
clothes, almost a sixth kind of uniform, in addition to red, green,
black, blue, and purple. They are setting up tripods around the edge of
the park, braziers, left unlit for now.
A major chunk of the town is now in the park, and people are filling out
forms and such at the tables. There are lots of crates and such being
moved about. Probably, we are watching them pack to leave and making
records of their belongings for unpacking when they get to ... wherever
it is.
All of this takes place without panic or rush. Soon, there is only two
hours to go until our estimated time of disappearance. Virtually the
whole town is in the park, gathered in a rough circles, rimmed with the
braziers, divided into three sections by a T-shaped pair of aisles, left
clear by the crowd, with the platform in the center.
A processing of wizardly types comes up the stem of the T, bearing bowls
and pitchers. They are not, however, particularly the focus of
attention. They empty the pitchers into the bowls, and white fire
flames up. Bowls are passed out and filled in cascades, and ultimately
used to put white fire into the ring of braziers. We now notices a
faint dome of light over the whole park.
The various uniformed types gather at the edges of the crowd, bearing
weapons of a wide variety of types and eras -- guns, swords, spears,
staffs, etc.
The street vendors finish their hawking and tidy themselves off. The
vans move away, laden with cargos. The paperwork is over. People quiet
down. There have been members of the various uniformed groups up on the
platform, often in teams of a senior-looking one and a couple of aides.
They all leave or settle down. The senior wizard of the trio we saw now
steps forward and addresses the crowd:
"The time is now."
That's it. He then holds up his staff, and a light appears in the
center of it. The dome of light over the park gets much brighter.
People shuffle around, obviously getting into position. The big cargo
trucks come trundling down the crossbar of the T, from both ends at
once. As they converge before the stage, they fade out. More vans
follow, then cars, then people on foot, with occasional uniformed folk
on air-cycles. They march up all three legs of the T, and vanish as
they approach the middle.
We examine this process arcanely, mostly courtesy of Salimar. It is
like a witchwalk, but not exactly. Perhaps stylistic differences.
Visible only to clairvoyance, there is a spinning fire at the center,
over the grass no one ever reaches as they march and fade.
After a long time, there are only a few people left. Even the platform
has been disassembled and packed off into the Great Beyond. The
remaining folk are all of the "wizardly" class and some of the other
uniformed types. They pick up the flaming braziers and take them away
into the Unknown. The last braziers are brought up the three paths by
three trios of wizards. As they go, the grass looks refreshed behind
them -- they are erasing the footprints and such. They stop short, just
at the point where they begin to fade. The senior trio of wizards --
the ones we saw at the shop -- raise their staves over them, and the
light-dome collapses in. Then they all pick up their braziers and, um,
exit. The senior trio is last. They look at each other, nod, and step
in, vanishing.
Well. Exeunt omnes, as they say in the stage directions.
We bring our window back down, open it as a door, and get out. Salimar
tries a retrocognition. Instead of the usual vision of the past, she
gets an interesting display of radial geometrical patterns. She herself
starts to fade. So she quits.
Tom and Mirien poke around, getting the psychic smell of the place. The
center of the park, where the vanishment focuses, is very "soft" to a
witchwalker's perceptions. And the whole process was certainly akin,
though not quite the same. It was also very powerful, and leaves a
powerful signature, though we suppose that will fade with time.
Brunalf cautiously tries his witchsight again, from inside the pantope.
Even at that, he starts to get transparent and finds himself being
dragged out of the pantope, toward the center of the park. Markel
lunges for the neo-cat, but Brunalf just passes through Markel's hand
and feels like being sick. He tries to stop himself with TK, but
fails. Eventually, Dafnord nails him with the goop gun, gluing him to
the deck of the pantope. It is unfortunate that Mirien was, at the same
moment, reaching for him, fading into witchwalk-condition as she did
so. The goop goes through both of them, and also sticks. Yuck.
Dafnord sheepishly proffers a can of solvent. After we do what we can
with that, Mirien still has to pull some goop out of herself. She
screams and faints. Eventually, Dafnord carries both her and the cat
off to the autodoc, to get cleaned up inside and out.
(Going to the autodoc, aboard the Munch, brings Dafnord into the lab.
There, he finds the big, green cube of ectoplasm, clearly labeled "Big
Green Cube." He tucks the patients into the autodoc, then puzzles over
this. He finally figures out that this is the extra dowsing beacon he
asked Tom to provide a few days back. He also figures out Tom felt
mildly ticked at being asked. He goes to apologize.)
While we're waiting for people to be de-gooped and all, we unfold the
Map of Here. As expected, it shows a lot of interesting markers.
There's a big event at the center of the park, but also lots of little
events scattered all over the city, with time indexes over a long
period. And there are jazzy new green pins marking the comings and
goings of our pantope, the Emerald Metaphor.
An hour spent searching the city reveals nothing we didn't already know
from the museums and archeology books of the future. By now, it's early
dawn.
We speculate: Tom wonders if these folk are proto-Deryni. Dafnord
wonders if they could heal Yanov and that's why he's interested in
them. Robbie wonders why they came here and why they left? Dafnord
suggests they're migratory, or just like their privacy and Mars was
getting too crowded. Braeta points out that they had anachronistic
technology, as did the nephilim of the second, unnamed, planet we
discovered out in the general direction of Destine. Tom suggests they
were fays, dodging human contact for fear of the Eretsarin, the angels
of Earth, who, according to Braeta, don't want the arcane races crowding
humanity.
There are fay-like features to these folk. Their psi feels
glamour-like. They have no signs on their shops, which, Tom now
remembers, is typical of elven cities, where everyone knows where
everyplace is, because they've all been living there since the last
glaciation. And now that Robbie reviews his video records, there were
no really old-looking people, and very few children, among these folk.
We recall the Percy Oak. We soon find it in the growing morning light,
though it is, of course, much smaller than when we saw it centuries from
now. It is not a fay breed of tree, so far as any of us can tell, but
something about its vigor suggests a fay "style" of tree.
Well. Nothing more to do here, and the "rescuers" are due in a while,
to come and be puzzled. We pile back into the pantope and are soon
home, on Hellene, in the 26th century of the United Earth line. It's
about a day after we left. We compile a very complete report on the
Missing Martians and send it to Cantrel, for him to use as he sees fit
in dealing with Admiral Yanov, his daughter, or the other folk of the
Rainbow Contracts.
Robbie asks the house if Ms. Yanov has been here in our absence. It
pauses -- which is odd -- and says no. The Avatar checks the files out
and says we had visitors who left a security seal over their records,
labeled "sequence." Oh... Dafnord asks Tom, "Your fault?" Tom
replies, "Not yet."
The Avatar says it proposes to go home now. Before it goes, Tom
scratches an intellectual itch and asks it what it's made of. For
instance, Tom's mostly protein and water, Robbie's metal, plastic, and
ceramic, and the gargoyle's enchanted stone. The Avatar says, at that
rough level of description, it's an enchanted machine. That's more or
less what Tom thought. It bids us adieu and zooms off.
For a couple of weeks, now, the Munch has been zooming toward the
distant planet we plan to use as a staging area, should we ever have
large numbers of rescued nephilim to dispose of. We are nearly there.
The Missing Martians were interesting, but not obviously relevant to the
Missing Nephilim, as we had hoped. It's time to begin thinking of
taking the Emerald Metaphor to Destine.
Updated: 7-Oct-06
©1984, 1994, 2005 Earl Wajenberg. All Rights Reserved.
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