The Bone Clocks

by David Mitchell

  “This is the Dial of the Way of Stones,” I reply. “The first of the many steps that climb up to the Chapel. The edges of the Dial absorb light and sound, so raise your voice a little to compensate.”

  “There’s no color,” observes Holly. “Or is it me?”

  “The Candle’s monochrome,” I answer. “It’s been burning for eight centuries.” Behind us, Elijah D’Arnoq is sealing the Aperture. I catch a brief glimpse of Bronzino’s Venus, lightly holding her golden apple, before our way back is gone. No dungeon was ever so secure. Only Esther or a follower of the Shaded Way can unseal the Aperture and get us home. I suffer a jabbing flashback to my last time on the Dial, incorporeally, my and Esther’s souls unraveling, Joseph Rhîmes hard on her heels and gaining. Esther, nestled and hidden in Ōshima’s head, is no doubt remembering too.

  “There are letters cut into the stone,” Holly remarks.

  “The Cathar alphabet,” I tell her. “No one can read it now, not even heresiologists. The alphabet is descended from Oc, a language older even than Basque.”

  “Pfenninger told me,” says D’Arnoq, “the letters are a prayer to God, requesting His help to rebuild Jacob’s Ladder. That’s what the Blind Cathar believed he was building, apparently. Don’t touch the walls. Whatever it’s made of, it and atomic matter”—he produces a coin from his pocket—“do not get on.” He tosses the coin out of the Dial’s perimeter. It vanishes in a blink of phosphorescence. “Don’t lose your footing on the Way of Stones.”

  “Which is where?” asks Ōshima.

  “It’s cloaked,” D’Arnoq shuts his eyes and opens his chakra-eye, “and moving, to keep out the riffraff. One moment.” He takes short, slow steps to the edge of the Dial, symboling in the staccato manner of the Shaded Way and mumbling an Act of Reveal. Keeping his back to the Candle, he shuffles sideways around the perimeter. “Got it.” Off the edge of the Dial and about one foot higher, a stone slab appears, as long and wide as a table. A second slab leads up from the first, and a third, and a fourth, higher into the blackness.

  “Marinus,” Holly asks in my ear, “is this technology? Or …”

  I know the missing word. “If you’d cured Henry the Seventh’s TB with a course of ethambutol, or given Isaac Newton an hour’s access to the Hubble telescope, or shown an off-the-shelf 3-D printer to the regulars at the Captain Marlow in the 1980s, you would have had the M-word thrown your way, too. Some magic is merely normality that you’re not yet used to.”

  “If the professor of semantics wouldn’t object,” says Ōshima, “perhaps she’d finish her seminar later?”

  ELIJAH D’ARNOQ GOES first, I follow, then Holly, Arkady, Unalaq, and Sadaqat, with ten kilos of N9D in his bag, and last Ōshima as our rear guard. On the fifth or sixth stone I look back over my companions’ heads, but the Dial is already out of view. Even the Way of Stones’ irregularity is irregular. There are stretches where the steps twist upward, sharp and steep, a stairway in a spire. There are stretches where long slabs of stone form a gently climbing road. There are even places where the climber must jump across from slab to slab, like stepping stones in a river. Better to ignore thoughts of slipping. Soon I work up a sweat. Visibility is poor, akin to climbing a narrow mountain track at night, in grainy fog. The stones glow with a pale light, like that of the Candle of the Dial, but only as we approach, creating an illusion that the Way is building itself as we make our ascent. The darkness all around is oppressive, and seems to conjure up voices from my metalife. I hear my birth father, explaining in vernacular late Latin how to feed a dormouse to a kestrel. Now it’s Sholeetsa, an herbalist of the Duwamish tribe, scolding me for overboiling a root. Now the corvine cackle of Arie Grote, a warehouseman on Dejima. Their bodies were compost long ago, their souls passed to the Last Sea. We Horologists agreed not to subspeak, for fear of being overheard, but I wonder if the others also hear voices from their past lives. I don’t ask in case I distract them from where they’re putting their feet. Who falls off the Way of Stones falls into nothing.

  • • •

  WE ARRIVE AT the only triangular slab on the whole climb. It is concave in its center and large enough for all six of us to stand on. “Welcome to the Halfway Station,” says D’Arnoq, and I recall Immaculée Constantin naming it in the same way to Jacko on the First Mission. “I think we’ve found our lookout point for you, Sadaqat,” says Ōshima. “The line of sight looking down is as good it gets. Lie in this hollow, here in the middle, and you’ll see any visitors before they see you.” Sadaqat nods, looks at me and I nod back. “Very good, Mr. Ōshima.” With due diligence, Sadaqat sits down and takes from his backpack a heavily adapted iCube and a thin metallic cylinder. He places the iCube towards the “downhill” corner of the slab.

  “Is that the firebomb?” D’Arnoq asks with professional curiosity.

  “It’s a Deep Stream cloak generator,” Sadaqat flips open the cuboid’s air-screen and scrolls through options, “and a soul alarm. This noise sounds”—a wild-goose signal honks repeatedly—“when it detects an unidentified soul, such as yours, Mr. D’Arnoq …” Sadaqat’s fingers sidescroll and the air-screen throbs as D’Arnoq’s brain signature is stored. “Now it will know friend from foe.”

  “A wise gadget,” says D’Arnoq, “and a clever one.”

  “The generator prevents a psychosoteric from using an Act of Suasion to make me deactivate the N9D.” Sadaqat unscrews the top of the metallic cylinder. “And the detector alerts me to the fact that someone has tried—and that it is time to detonate the firebomb, which, of course, is this.” Tripod legs shoot out from the lower end of the cylinder and Sadaqat stands it up. “Ten kilos of N9D have been compressed into this tube—sufficient to turn the Way of Stones into a conduit of flame at five hundred degrees Celsius. If the goose goes ‘honk,’ ” Sadaqat looks at D’Arnoq, “psychoferno.”

  “Stay alert,” says Ōshima. “We’re depending on you.”

  “I have made my oaths, Mr. Ōshima. This is what I am for.”

  “You have a loyal lieutenant,” D’Arnoq tells me. “Ready to make a … the ultimate sacrifice.”

  “I know how lucky we are,” I say to Sadaqat.

  “Don’t look so grim, Doctor!” Sadaqat stands and shakes hands with us all. “We’ll see each other soon, my friends. I am sure it is Scripted.” When he reaches me he slaps his heart. “Here!”

  WE KEEP CLIMBING, stone after stone after stone, but it’s difficult to track how high or how far we’ve come since the Dial of the Way, or how many minutes have gone by since we left Sadaqat on sentry duty at the Halfway Station. We left our devices and watches at 119A. Time exists here but it isn’t easily measured, even in an Horologist’s mind. My resolve to count the steps has been sidelined by the voices of the long-dead. So I just follow Elijah D’Arnoq’s back, staying as alert as I can until at last we come to a second circular slab of stone, identical in most features to the Dial at the base of the climb. “The Summit, we call this one,” says D’Arnoq, visibly nervous. “We’re here.”

  “Isn’t this where we came in?” asks Holly. “The candle, the circle, the stone circle, the engravings …”

  “The stone inscription differs,” I say. “Mr. D’Arnoq?”

  “Never studied it,” admits the defector. “Pfenninger is big into philology, and Joseph Rhîmes used to be as well, but for most of us, the Chapel’s a … sentient machine that we have a deal with.”

  “ ‘Don’t blame me, I’m only the little guy’?” says Arkady.

  D’Arnoq looks worn thin. “Yeah. Maybe so. Maybe that is what we tell ourselves.” He rubs imaginary dust from his eye. “Okay, now I’ll unseal the Umber Arch—the way in—but first a warning: The Blind Cathar should be safely in stasis, in his icon, in the north corner. You’ll sense him. He shouldn’t sense us. So—”

  “ ‘Shouldn’t’?” queries Ōshima. “What’s this ‘shouldn’t’?”

  “Deicide has its risks,” D’Arnoq scowls, “or it wouldn’t be deicide. If you�
��re afraid, Ōshima, go and join Sadaqat down below. But here are three don’ts to reduce the risk: Be wary of looking into the Blind Cathar’s face on the icon; don’t make any loud noises or sudden movements; don’t perform any acts of Deep Stream psychosoterica, not even subspeech. I can invoke Shaded Way acts without disturbing the Chapel, but the Cathar’ll detect psychosoterica from the far side of the Schism. Your 119A is fitted with alarms, shields, and cloaks; so is our sanctum, and if the Blind Cathar is aware of Horologists in the house before the walls come tumbling down, the day will end badly for all of us. Understood?”

  “Understood,” says Arkady. “Dracula can be safely awoken only when the stake’s already in his heart.”

  D’Arnoq barely hears as he evokes an Act of Reveal. A modest, trefoiled, man-high portal shimmers into being at the edge of the Summit Stone. The Umber Arch. Through it we see the Chapel, and inwardly I recoil, even as I follow Elijah D’Arnoq forwards. “In we go,” somebody says.

  THE CHAPEL OF the Dusk of the Blind Cathar is the body of a living being. One senses it, immediately. Taking the Umber Arch as south, the rhombus-shaped nave of the Chapel is maybe sixty paces along its north-south axis, thirty paces from east to west, and loftier than it is long. Every plane points to, refers to, or mirrors the icon of the Blind Cathar, hanging in the narrow “northern” corner, so one must concentrate hard on not gazing at the icon. Walls, floor, and pyramidal ceiling are all crafted from same milky, flint-gray stone. The Chapel’s sole furnishings are a long oaken table placed along the north-south axis, two benches on either side, and one large picture on each wall. Immaculée Constantin explained the gnostic paintings to Jacko last time: the Blue Apples of Eden at Noon on the Eighth Day of Creation; the Demon Asmodeus, tricked by Solomon into building the King’s Temple; the true Virgin, suckling a pair of infant Christs; and Saint Thomas standing in a rhombus-shaped chamber identical to the Chapel of the Dusk. Floating below the roof’s apex is a writhing snake wrought in chatoyant stone, in the circular act of consuming its own tail. The Chapel’s blockwork is flawless and fused and creates the illusion that the chamber was hewn from inside a mountain, or that it was crystallized into being. The air here is not fresh or stale or warm or cool, though it carries the tang of bad memories. Holokai died here, and despite what we’ve allowed Holly to hope, I have no proof that Xi Lo didn’t.

  “Give me a minute,” murmurs D’Arnoq. “I need to revoke my Act of Immunity, so we can merge our psychovoltage.” He closes his eyes. I walk over to the oblique-angled west corner, where a window offers a view over one mile or a hundred miles of Dunes, up to the High Ridge and the Light of Day. Holly follows me. “See up there?” I tell her. “That’s where we’re from.”

  “Then all those little pale lights,” whispers Holly, “crossing the sand, they’re souls?”

  “Yes. Thousands and thousands, at any given time.” We walk over to the eastern window, where an inexact distance of Dunes rolls down through darkening twilight to the Last Sea. “And that’s where they’re bound.” We watch the little lights enter the starless extremity and go out, one by one by one.

  Holly asks, “Is the Last Sea really a sea?”

  “I doubt it. It’s just the name we use.”

  “What happens to the souls when they get there?”

  “You’ll find out, Holly. Maybe I will, one day.” Today?

  We return to the center, where D’Arnoq is still inside himself. Ōshima points up to the apex of the Chapel, and traces an invisible line down to the north corner where the icon appears to be watching us. I shut my eyes, open my chakra-eye, and scan the ceiling for the crack mentioned by Esther …

  It takes a moment, but I find it. There, starting at the apex and curving down to the shadows in the north corner.

  Yes, it’s there, but it’s a terribly thin crack on which to gamble five Atemporal metalives and one Temporal life.

  “Is it me,” Holly is asking, and I close my chakra-eye and open up my physical eyes, “or does that picture … sort of … reel you in?”

  “It’s not you,” replies Elijah D’Arnoq, who is now back with us. We look at the icon. The hermit wears a white cloak, his hood draped about his shoulders to expose his head and a face with blanks instead of eyes. “But don’t stare at him,” D’Arnoq reminds us. On the Way of Stones, sound was muffled so you had to speak twice as loudly. Here in the Chapel, whispers, footsteps, and even the swish of our clothing sound amplified, as if collected by hidden microphones. “Look away, Ms. Sykes. He may be dreaming at present, but he’s a light sleeper.”

  Holly forces herself to look to one side. “It’s those empty eye sockets. They drag your eyeballs into them.”

  “This place has a sick mind,” remarks Arkady.

  “Then let us put it out of our misery,” says D’Arnoq. “The Act of Anesthesia is done. As per the plan, then: Marinus and Unalaq, you hiatus the icon to ensure he won’t wake while Arkady, Ōshima, and I psychoflame the icon with every volt we’ve got.”

  We approach the northern corner, where the eyeless figure gleams pale as a shark’s underbelly. “So all you have to do to bring down this place,” Holly asks me, “is trash that painting?”

  “Only now, at this point in the cycle,” D’Arnoq answers on my behalf, “while the Blind Cathar’s soul is housed inside the icon. At other times he resides in the fabric of the chapel, and then he would have sensed our intent and melted us like plastic figurines in the flame of a blowtorch. Marinus: Begin.”

  If Elijah D’Arnoq is betraying us, he’s keeping up a convincing act until the last minute. “You take the left,” I tell Unalaq, “I’ll take the right.” We stand in front of the Blind Cathar and shut our eyes. Our hands intone in synchronicity. Xi Lo taught Klara Marinus Koskov the Act of Hiatus in Saint Petersburg, and as my Indian self, I taught Unalaq. To strengthen and deepen the act, our lips recite it, silently, from memory, like a pianist’s eye navigating a complex but familiar musical score. I sense the Blind Cathar’s consciousness rise to the icon’s surface, like a swarm of bees. We push it back. We succeed. Partly. I think. “Quickly,” I tell Elijah D’Arnoq. “It’s more a local anesthetic than a deep coma.”

  Unalaq and I step aside. D’Arnoq stands before his ex-master, or his current master, I do not know, and holds out his hands at his sides, palms up. To his left and his right, Arkady and Ōshima press their palm-chakras against D’Arnoq’s. “Don’t even think about getting off on this,” mumbles Ōshima.

  Pallid and sweaty, D’Arnoq shuts his eyes, opens his chakra-eye, and channels the ember-red light of the Shaded Way at the throat of the Holy of Holies.

  The Blind Cathar is no longer dreaming. He knows he’s being attacked. Like a drugged giant, like my house in Kleinburg in the grip of an Arctic gale, the Chapel strains and struggles. I stagger, I think I blink, and the Blind Cathar’s mouth is twisted into aggression. His chakra begins to dilate, a black spot appearing on his forehead, growing like an ink stain. If it opens fully, we’re in severe trouble. An earthquake is trapped in the Chapel walls, and Elijah D’Arnoq is making a high, inhuman sound. Channeling so much psychovoltage is killing him. His defection must be genuine; this will kill him. I think I blink again and the icon is firelit and smoking and the depicted monk is roaring with agony, as two-dimensional flames burn him alive, his chakra-eye flickering here and not-here, here and not-here, here and …

  GONE. SILENCE. THE Blind Cathar’s icon is a charcoal square and Elijah D’Arnoq is heaving, bent over double. “We’ve done it,” he gasps. “We’ve bloody well done it.”

  Wordlessly, we Horologists consult with one another …

  … and Unalaq confirms it. “He’s still there.” Her words are our death sentence. The Blind Cathar has merely left the icon and fled to the floors, walls, and ceiling. We have been participants in a charade to allow the Anchorites time to stream up the Way of Stones. Their arrival is imminent. D’Arnoq’s defection was indeed a trap, and the Second Mission has become a kamikaze attac
k. I’d subsend an apology to Inez and Aoife if I could, but their world is out of range. “Holly? Stand behind us, please.”

  “Did it work? Is—is—is Jacko going to … appear?”

  I’d like to hiatus her now so she won’t die hating me. The Script has failed us. At Blithewood Cemetery I should have turned around, called Wendy Hanger, explained there’d been a mix-up, and gone back to Poughkeepsie station. “I don’t know,” I tell Holly the mother, sister, daughter, widow, writer, friend. “But stand behind us.”

  Message from Esther, subreports Ōshima. She’s started the Last Act. She’ll need up to a quarter hour.

  “We had to try,” Unalaq says. “While there was hope.”

  Elijah D’Arnoq is still pretending: “What are you talking about?” He even smiles. “We’ve won! The Blind Cathar’s dead. Without him to maintain the Chapel fabric, where we’re standing will all be Dunes and Dusk within six hours.”

  I look at what, in spy-novel terms, is an old-fashioned double agent. I don’t even need scansion to be sure. Elijah D’Arnoq isn’t as skillful a liar as he believes. For part one of the deception, at my house outside Toronto, he had indeed been “turned” into a genuine penitento, but at some point in the last few days, Pfenninger or Constantin turned him back to the Shaded Way.

  “May I, Marinus?” asks Ōshima. “Please?”

  “As if my permission ever mattered to you. But yes. Hard.”

  Ōshima fakes a sneeze and suckerkinetics D’Arnoq along the table, clean off the end. He comes to a halt only at the Umber Arch.