I landed in the middle of a war.
There was a ruined city all around me. The sky above boiled with storm clouds, moving and roiling too quickly to be real, filled with contrasting colors of lightning. Rain hammered down. I heard screams and shouted imprecations all around me, overlapping one another, coming from thousands of sources, blending into a riotous roar—and every single voice was either Molly's or the Corpsetaker's.
As I watched, some great beast somewhere between a serpent and a whale smashed its way through a brick building—a fortress, I realized—maybe fifty yards away, thrashing about as it fell and grinding it to powder. A small trio of dots of bright red light appeared on the vast thing's rubble-dusted flanks, just like the targeting of the Predator's shoulder cannon in the movies of the same name, and then multiple streaks of blue-white light flashed in from somewhere and blew a series of holes the size of train tunnels right through the creature. Around me, I saw groups of soldiers, many of them in sinister black uniforms, others looking like idealized versions of United States infantry, laying into one another with weapons of every sort imaginable, from swords to rocket launchers.
A line of tracer fire went streaking right through me, having no more effect than a stiff breeze. I breathed a faint sigh of relief. I was inside Molly's mindscape, but her conflict was not with me, and neither was the Corpsetaker's. I was just as much a ghost here at the moment as I had been back in the real world.
The city around me, I saw, was a vast grid of fortified buildings, and I realized that the kid had changed her usual tactics. She wasn't trying to obscure the location of her mental fortress with the usual tricks of darkness and fog. She had instead chosen a different method of obfuscation, building a sprawl of decoys, hiding the true core of her mind somewhere among them.
Corpsetaker had countered her, it would seem, by the simple if difficult expedient of deciding to crush them all, even if it had to be done one at a time. That vast beast construct had been something more massive than I had ever attempted in my own imagination, though Molly had tossed some of those at me once or twice. It wasn't simply a matter of thinking big—there was an energy investment in creating something with that kind of mental mass, and Molly generally felt such huge, unsubtle thrusts weren't worth the effort they took—especially since someone with the right attitude and imagination would take them down with only moderately more difficulty than small constructs.
Corpsetaker, though, evidently didn't agree. She was a lot older than Molly or me, and she would have deeper reserves of strength to call upon, greater discipline, and the confidence of long experience. The kid had managed to take on the Corpsetaker on Molly's most familiar ground, and to play her hand in her strongest suit—but my apprentice's strength didn't look like it was holding up well against the necromancer's experience and expertise.
I stopped paying attention to everything happening—all the artillery strikes and cavalry charges and shambling hordes of zombies and storms of knives that just came whirling out of the sky. The form of any given construct wasn't as important as the fact of its existence. A flying arrow that could pierce the heart, for example, was potentially just as dangerous as an animate shadow reaching out with smothering black talons. As long as one could imagine an appropriate construct to counter the threat, and do so in time to stop it, any construct could be defeated. It was a simple thing at its most basic level, and it sounded easy. But once you're throwing out dozens or hundreds—or thousands—of offensive and defensive constructs at a time . . . Believe me—it takes your full attention.
It's also all you can do to deal with one opponent, which explained why I hadn't been assaulted by the Corpsetaker instantly, if she had even taken note of my presence at all. She and Molly were locked together tight. The soulgaze had probably played a part in that. Neither was letting go until her opponent was dead.
Both combatants were throwing enormous amounts of offensive constructs at each other, even though Molly was demolishing her own defenses almost as rapidly as the Corpsetaker was. As tactics go, that one had two edges. Molly was hurting herself, but by doing so, she was preventing the Corpsetaker from pressing too closely, lest she be caught up in the vast bursts of destruction being exchanged. A mistake could easily destroy anyone's mind in that vista of havoc, centuries-old necromancer or not. On the other hand, if she spotted where Molly was fighting from, it looked like she'd have the power to drive in and crush my apprentice. But if she closed in on the wrong target, she'd leave herself wide-open to a surprise attack from the real Molly. Corpsetaker had to know that, just as she had to know that if she simply kept on the pressure, the whole place would eventually be ground down and Molly would be destroyed anyway.
My apprentice had come with a good plan, but she had miscalculated. The Corpsetaker was a hell of a lot stronger than she had expected. Molly was playing the most aggressive defensive plan I'd ever seen, and hoping that she could pressure the Corpsetaker into making a mistake. It wasn't a good plan, but it was all she had.
One way or another, it wasn't going to be a long fight. Best if I got moving.
Molly was here somewhere in the sprawl of fake strongholds, and she would be just as hidden from me as from the Corpsetaker. But I had an advantage that the necromancer didn't: I knew my apprentice.
This wasn't the Nevernever. We were in Molly's head, inside a world of thought and imagination. There was no magic involved—not now that we were here anyway. I might be a slender wisp of a ghost, but I still had my brain, and that gave me certain liberties here.
I went over to the ruined building, where the monster thing was groaning through its death. I heaved aside a piece of rubble and pulled a pale blue bathroom rug, stained with dust and weird purple blood, out of the wreckage. It was a tiny piece of an environmental construct, but even so, it was a serious effort to appropriate it as my own. My arms shook with weakness as I lifted the carpet and snapped it once. Blood and dust flew from it as if it had never existed, and then I settled it calmly on flat ground, sat on it, and folded my legs and my arms in front of me.
"Up, Simba," I said in my best attempt to imitate Yul Brynner, and the carpet quivered and then rose off the ground, staying as rigid and almost as comfortable as a sheet of heavy plywood. It rose straight in the air, and as it did, I gripped the edges surreptitiously. It wouldn't do to have either my enemy or my apprentice get a glimpse of me flailing wildly for my balance as the carpet moved. But on the other hand, I didn't want to just fall off, either. I could probably come up with something to keep me from getting hurt when I hit the ground, but it would look awfully bad, and I don't care how close to dead he might be; a wizard has his pride.
Granted, the imagination was the only place where I was going to get one of these darned things to work. I'd tried the flying-carpet thing before, when I was about twenty. It had been a fairly horrible experiment that had dropped me into a not-yet-closed landfill during a thunderstorm. And then there was the famous flying-broomstick incident of Wacker Drive, which wound up on the Internet as a UFO sighting. After that, I had wisely determined that flying was mostly just a great way to get killed and settled for driving my old car around instead.
But hey. In my imagination, that carpet had worked great—and that was how it went as a guest in Molly's imagination, too.
I went up high enough to get a good view—and was impressed with the kid. The city of fortresses stretched for miles. There were hundreds of them, and fighting raged all the way through. It was the opposite of what the kid usually did in a mental battle—an inverse Mongol horde, with endless defenders pouring out like angry bees to defend the hive. Corpsetaker, unfortunately, was playing mama bear to Molly's queen bee. She'd get hurt coming in, but as long as she wasn't stupid, not very badly. She could crush all the defenders eventually—and then rip the hive to shreds.
I leaned forward a little and the carpet began to gather speed, moving ahead. Shifts of my weight to the left or right let me bank, and it wasn't long before I was cruising through the rain as fast as I could and still keeping my eyes clear. I flew a spiral pattern, scanning the city beneath me. The battle kept going in the skies, too—mostly flying demon things and lightning bolts that kept smashing them out of the air. It got boring to watch after the first dozen spectacular lightning strikes or so, and I tuned that conflict out, too, as I kept searching.
Finally, I spotted what I was looking for: a ruined building that had been reduced to a crater by an artillery shell or some other explosion. It was impossible to tell what it had been from what was left, and burned rubble covered the area around it, coating a thick-bodied old oak tree and the tree house on its lower branches in dust, dirt, and debris.
I went past the tree house without stopping or slowing down for several more minutes, and then went evasive. I couldn't be sure the Corpsetaker didn't know I had ridden in on her coattails, and if she was following me, or had sent a construct to do so, I didn't want to lead her to Molly. So the carpet went from forty or fifty miles an hour to more than a hundred, and at the same time I constructed a veil around me so that I surged forward and simply vanished. I flew low, snaking through the streets, and only after I'd crossed my own trail five or six times without spotting anything shadowing me did I finally soar in to the tree house.
It looked like a miniature home, with a door and siding and trim and windows and everything. A rope ladder allowed one to climb up to the porch, but it had been pulled up. I floated up to the door on the flying carpet and knocked politely.
"I have you now," I said, as much like James Earl Jones as I could. I do a better Yul Brynner.
Molly's strained face appeared at the window and she blinked. "Harry?"
"What's with the come-hither, grasshopper?" I asked. "You practically vacuumed me in with the Corpsetaker."
Molly narrowed her eyes and said, "What was I wearing the first time we met?"
I blinked at her, opened my mouth, closed it, thought about it, and then said, "Oh, come on, Moll. I have no idea. Clothes? You were, like, eight years old and your mom tried to shut the door in my face and I was there to see your dad."
She nodded once, as if that was the answer she'd been looking for, and opened the door. "Come on."
I went into the tree house with her.
The inside was bigger than the outside. You can do that sort of thing in your imagination. It's kind of fun. I've got one closet of my castle that looks like a giant disco roller rink. The roller skaters come after you like juggernaut, the music makes heads explode, and the mirror ball distributes a killer laser beam.
Molly's headquarters looked like the bridge of, I kid you not, the U.S.S. Enterprise. The old one. The one that was full of dials that obviously didn't do anything and that had a high-pitched, echoing cricket chirp going off every five or six seconds.
There was an upside to that setting, though: Molly was wearing one of the old sixties miniskirt uniforms.
Look, I'm not interested in a relationship with the kid. I do love her tremendously. But that doesn't mean that she doesn't look fantastic. Anyone with eyes can see that, and I've always been the kind of person who can appreciate gorgeous scenery without feeling a need to go camping in it.
Actually, glancing around, there were about half a dozen Mollys, all of them wearing old sixties miniskirt uniforms, each of them manning a different station. The one who had opened the door had jet-black hair in a neat, almost mathematical, gamine-style cut and slightly pointed ears.
"Star Trek?" I asked her. "Really?"
"What?" she demanded, bending unnaturally black eyebrows together.
"There are two kinds of people in the universe, Molly," I said. "Star Trek fans and Star Wars fans. This is shocking."
She sniffed. "This is the post-nerd-closet world, Harry. It's okay to like both."
"Blasphemy and lies," I said.
She arched an eyebrow at me with Nimoysian perfection and went back to her station.
Communications Officer Molly, in a red uniform with a curly black fro and a silver object the size of a toaster in her ear, said, "Quadrant four is below five percent, and the extra pressure is being directed at quadrant three."
Captain Molly, in her gold outfit, with her hair in a precise Jacqueline Onassis do, spun the bridge chair toward Communications Molly and said, "Pull out everything and shift it to quadrant three ahead of them." The chair spun back toward Science Officer Molly. "Set off the nukes in four."
Science Molly arched an eyebrow, askance.
"Oh, hush. I'm the captain, you're the first officer, and that's that," snapped Captain Molly. "We're fighting a war here. So set off the nukes. Hi, Harry."
"Molly," I said. "Nukes?"
"I was saving them as a surprise," she said.
There was a big TV screen at the front of the room—not a flat-screen. A big, slightly curved old CRT. It went bright white all of a sudden.
"Ensign," Captain Molly said.
Ensign Molly, dressed in a red uniform, wearing braces on her teeth, and maybe ten years younger than Captain Molly, twiddled some of the dials that didn't do anything, and the bright white light dimmed down.
From outside, there was a long scream. An enormous one. Like, Godzilla-sized, or maybe bigger.
Everyone on the bridge froze. A brass section from nowhere played an ominous sting: bahm-pahhhhhhhhhhm.
"You're kidding," I said, looking around. "A sound track?"
"I don't mean to," Ensign Molly said in a strained, teenager tone. She had a Russian accent that sounded exactly like Sanya. "I watched show too much when I was kid, okay?"
"Your brain is a very strange place," I said. I meant it as a compliment, and it showed in my voice. Ensign Molly gave me a glowing grin and turned back to her station.
I walked to the right-hand side of the captain's chair and folded my arms. The screen came up to light again, showing a devastated section of the city grid. No, not decimated. Had that part of the city been decimated, one out of every ten buildings would be destroyed. That's what decimated means. Personally, I think some early-years, respected television personality got decimated and devastated confused at some point, and no one wanted to point it out to him, so everyone started using them interchangeably. But dammit, words mean what they mean, even if everyone thinks they ought to mean something else.
Science Molly spoke in a grim voice. "Nuclear detonation confirmed. Enemy forces in quadrant four have been decimated, Captain."
I pressed my lips firmly together.
"Thank you, Number One," Captain Molly said, spinning back to face the front. "Harry, um. Help?"
"Not sure what I can do, grasshopper," I told her seriously. "I barely managed to steal a bathroom rug from some rubble and whip up a flying carpet. Her stuff goes right through me, and vice versa."
She looked at me for a moment, and I saw the same look of fear flicker over every face on the bridge. Then she took a deep breath, nodded, and turned to face the front. She started giving smooth orders, and her other selves replied in calm, steady voices.
After a few moments, Captain Molly said, "If you aren't here to . . . I mean, if you can't help, why are you here?"
"Because you're here," I said calmly. "Least I can do is stand with you."
"If she wins . . ." Captain Molly swallowed. "You'll die."
I snorted and flashed her a grin. "Best thing about being a spook, grasshopper. I'm already dead."
"Quadrant three is collapsing," Communications Officer Molly reported. "Quadrant two is at twenty percent."
Captain Molly bit her lip.
"How many quadrants?" I asked her.
"Four," she said. "Since, you know. Quadrants."
I wanted to say something about decimated, but I didn't. "We're in quadrant one?"
Captain Molly nodded. "I . . . don't think I can stop her, Harry."
"Fight's not over until it's over, kid," I said. "Don't let her beat you. Make her work for it."
Science Molly said, in a firm tone, "Death is not the only consequence here. Should the Corpsetaker prevail, she will have full access to our talents, abilities, memories, and knowledge. Even though we have spent the last months distancing ourselves from others to insulate against a situation such as this one, the Corpsetaker could still inflict considerable damage on not only our friends and family, but on complete innocents. That is unacceptable, Captain."
Captain Molly looked from Science Molly to me and then said, "The fight isn't over yet. Prepare the Omega Bomb, but do not deploy."
"Aye, aye," said Science Molly, and she stood up and strode to the other side of the bridge—and an old wooden cabinet beside an old wooden door.
I blinked at it. "Wow. That's . . . kind of out of theme."
Captain Molly coughed loudly. "That? That's nothing to worry about. Pay it no mind."
I watched Science Molly get a device the size of a small microwave out of the old cabinet and push one button on it. Then she set it on the console next to her.
"Um," I said. "Omega Bomb?"
"The Corpsetaker doesn't get me," Captain Molly said in a firm tone. "Ever."
"And it's in that old wooden cabinet because . . . ?"
"I don't know what you're talking about," said Captain Molly dismissively. "Ensign, bring up the screen for quadrant two."
I eased away from Captain Molly as she kept commanding the battle, and went over to stand next to Science Molly. "Um. The captain doesn't seem to want me to know about that door."
"Definitely not," said Science Molly, also in confidential tones. "It's a need-to-know door."
"Why?"
"Because if you know about it, you're one of the ones who needs to know about it," she replied calmly. "And if you don't, it's better that you not know. The captain feels you've suffered enough."
