“But why those scenes? How does it select the ones it chooses and why does it ice them? And if it wanted people’s life force, why wouldn’t it go where the greatest number were gathered? At some of these scenes, there were only a few people.”
“You mean like why would it ice the small club beneath Chester’s when it could have iced the whole place?”
“It iced part of Chester’s?”
“That was the first place it iced that I know of. It’s the reason Ryodan dragged me into this mess.”
“It can’t be after life force. It took out a church spire, too. There wasn’t a single person or Fae at that scene.”
“Maybe it was just flying over that spire and accidentally iced it. Or maybe there was a tiny life force, like a mouse there, and it was feeling peckish.”
He grins. “Maybe.”
“I kind of doubt it, though. I think we should label them by order of occurrence. Maybe that’ll help us see something.”
“What bites,” he says, “is we can’t even tell people something so simple as: stay in small groups and you’ll be okay. People are scared of their own shadows, Mega. The whole city is on edge, tempers are high, and people are getting into fights over nothing. We’ve got to figure out what’s going on because if they don’t freeze to death first, they’ll kill each other. They’ve lost too much and been afraid too long. While you were gone, there were no Dani Dailies getting out, and in times like these, no news isn’t good news. People need to believe someone is in the streets watching out for them.”
“What about WeCare? Aren’t they taking their job seriously? Dude, when I was gone, they should have stepped up to the plate, put out more issues! A newspaper’s got a responsibility to the people!”
“The only thing WeCare is telling people is that they need to ‘take the white’ and everything will be all right. Half the city is rushing in to blindly embrace faith; the other half isn’t buying it. Toss in the shortage of food and water, and the brutal cold, and we’re going to have riots on our hands any day now.”
I push my hair out of my face and stare at the mystery board. I count twenty-four pins. My nine ziplocks are no longer representative of the scenes. “Did you collect debris?”
He gives me a what-kind-of-idiot-do-you-think-I-am look, and a grin, and picks a box up off the floor that’s crammed with more yellow envelopes like the ones on the slab. “I’ve been analyzing samples from the scenes, categorizing and isolating commonalities. I took photos, too.”
I grin back because great minds think alike and it’s so fecking cool to be peas in the Mega-pod.
While he opens envelopes, I get back to pinning pictures of the scenes where they go on our mystery board. I thought my life force idea was right until he pointed out two glaring flaws. Feck. It’s a good thing I got my “impartial” ziplocks of evidence. I start to snicker then remember again that Ryodan’s dead. It’s hard for me to remember for some reason. Like I thought he was eternal or something. I got no clue why it feels like such a kick in the teeth every time I think about it. Sure, I let the Hag out, but he’s the dude that failed to dodge her. I don’t move as fast as him, and I managed to get away.
Eight hours later I can hardly see straight. Alternately staring at bits of debris then studying the map is making me bug-eyed.
I been awake for three days, juiced on a constant sugar rush from candy bars, sodas, and the pall of something hanging over me that makes me nuts. Guilt. Guilt is for losers. Guilt is for folks who have stupid things like regrets. I contemplate the notion that maybe regrets are a process of accumulation of time, as unavoidable as a closet full of clothes and more bags of them in the attic. Is accumulated baggage what makes people get old? If so, they need to clean out their fecking attics, send the stuff to consignment shops and remember how to walk around naked like kids, little bellies sticking out, always ready for a good laugh. The second I kill the Crimson Hag, I’m sending my guilt straight to hell where it can burn. Problem is, I’m stuck with it till then and it’s making me even testier than hormones. I don’t like feeling responsible for crap. Like little anchors holding me still on my happy sea that’s got an even grander adventure waiting just beyond the next wave.
There’s a bit of everything in the plastic bags. Splinters of wood from church pews, stained glass, hair, bits of bone and carpet and leather, dirt, plastic, food, human parts, Unseelie parts. There are chunks of white crystal and shreds of yoga mats, parts of phones, teeth, jewelry, fragments of various electronics, bits of iron bars, a piece of a washboard, metal racking. There’s paper and plastic wrappers, part of a fingernail with a finger bone fused to it, a hearing aid, half a driver’s license, and so on. We make a list of each scene’s contents, tack it to the murder board, and cross off anything that wasn’t in every single bag.
We’re left with “mystery debris,” which is what we decide to call the dirt stuff at the bottom of each ziplock, metal and plastic.
“Does this stuff feel … I don’t know, weird to you, Mega?”
I scoop a chunk of crystal into my palm and hold it a second. “It’s colder than it should be, like it’s still partly iced. It doesn’t warm up no matter how long you hold it.”
“No, there’s something else. I can’t put my finger on it.”
I wait. I didn’t go to school and I’m a little in awe of how much stuff Dancer knows. If he says there’s something else, there is.
He muses aloud. “If it’s not after life forces, how is it selecting its scenes? It might not be metal or plastic that the thing is after, which is at every scene in some form, but an ingredient in metal or plastic. The thing could be hunting infinitesimal traces of something.”
I push a pile of old bones to the edge of a stone slab, stretch out next to them, fold my arms behind my head and begin mentally rebuilding the scenes to what they were before they blew, thinking it might be easier to find a commonality before they were reduced to rubble. “Like some kind of theoretical vitamin or mineral it needs in order to accomplish something it wants to do?”
“Or a common element at the scenes that makes it think what it wants might be at that scene,” Dancer says.
“Huh?”
“It could be like a fisherman, going wherever there’s salt water, because he’s looking for a whale. We wouldn’t necessarily ever find a whale. But we would always find saltwater. If we can figure out what draws it, we’re halfway to stopping it.”