by Naim Kabir
Shimshon’s eyebrows rose and he regarded Achimwene without the grin. “Mil. Hist?” he said, uneasily. “Robotniks? The Nosferatu Code?”
Achimwene regarded him, uncertain. “The what?” he said.
But Shimshon was shaking his head. “I don’t deal in that sort of thing,” he said. “Verboten. Hagiratech. Go away, Achimwene. Go back to Central Station. Shop’s closed.” He turned and dropped the cigar and stepped on it with his foot. “You, love!” he said. “Shop’s closing. Are you going to buy that book? No? Then put it down.”
Carmel turned, wounded dignity flashing in her green eyes. “Then take it!” she said, shoving a (priceless, Achimwene thought) copy of Lior Tirosh’s first—and only—poetry collection, Remnants of God, into Shimshon’s hands. She hissed, a sound Achimwene suspected was not only in the audible range but went deeper, in the non-sound of digital communication, for Shimshon’s face went pale and he said, “Get . . . out!” in a strangled whisper as Carmel smiled at him, flashing her small, sharp teeth.
They left. They crossed the street and stood outside a cheap cosmetics surgery booth, offering wrinkles erased or tentacles grafted, next to a handwritten sign that said, Gone for Lunch. “Verboten?” Achimwene said. “Hagiratech?”
“Forbidden,” Carmel said. “the sort of wildtech that ends up on Jettisoned, from the exodus ships.”
“What you are,” he said.
“Yes. I looked, myself, you know. But it is like you said. Holes in the Conversation. Did we learn nothing useful?”
“No,” he said. Then, “Yes.”
She smiled. “Which is it?”
Military history, Shimshon had said. And no one knew better than him how to classify a thing into its genre. And—robotniks.
“We need to find us,” Achimwene said, “an ex-soldier.” He smiled without humor “Better brush up on your Battle Yiddish,” he said.
“Ezekiel.”
“Achimwene.”
“I brought . . . vodka. And spare parts.” He had bought them in Tel Aviv, on Allenby, at great expense. Robotnik parts were not easy to come by.
Ezekiel looked at him without expression. His face was metal smooth. It never smiled. His body was mostly metal. It was rusted. It creaked when he walked. He ignored the proffered offerings. Turned his head. “You brought her?” he said. “Here?”
Carmel stared at the robotnik in curiosity. They were at the heart of the old station, a burned down ancient bus platform open to the sky. Achimwene knew platforms continued down below, that the robotniks—ex-soldiers, cyborged humans, preset day beggars and dealers in Crucifixation and stolen goods—made their base down there. But there he could not go. Ezekiel met him above-ground. A drum with fire burning, the flames reflected in the dull metal of the robotnik’s face. “I saw your kind,” Carmel said. “On Mars. In Tong Yun City. Begging.”
“And I saw your kind,” the robotnik said. “In the sands of the Sinai, in the war. Begging. Begging for their lives, as we decapitated them and stuck a stake through their hearts and watched them die.”
“Jesus Elron, Ezekiel!”
The robotnik ignored his exclamation. “I had heard,” he said. “That one came. Here. Strigoi. But I did not believe! The defense systems would have picked her up. Should have eliminated her.”
“They didn’t,” Achimwene said.
“Yes . . . ”
“Do you know why?”
The robotnik stared at him. Then he gave a short laugh and accepted the bottle of vodka. “You guess they let her through? The Others?”
Achimwene shrugged. “It’s the only answer that makes sense.
“And you want to know why.”
“Call me curious.”
“I call you a fool,” the robotnik said, without malice. “And you not even noded. She still has an effect on you?”
“She has a name,” Carmel said, acidly. Ezekiel ignored her. “You’re a collector of old stories, aren’t you, Achimwene,” he said. “Now you came to collect mine?”
Achimwene just shrugged. The robotnik took a deep slug of vodka and said, “So, nu? What do you want to know?”
“Tell me about Nosferatu,” Achimwene said.
SHANGRI-LA VIRUS, the. Bio-weapon developed in the GOLDEN TRIANGLE and used during the UNOFFICIAL WAR. Transmission mechanisms included sexual intercourse (99%-100%), by air (50%-60%), by water (30%-35%), through saliva (15%-20%) and by touch (5%-6%). Used most memorably during the LONG CHENG ATTACK (for which also see LAOS; RAVENZ; THE KLAN KLANDESTINE). The weapon curtailed aggression in humans, making them peaceable and docile. All known samples destroyed in the Unofficial War, along with the city of Long Cheng.
“We never found out for sure where Nosferatu came from,” Ezekiel said. It was quiet in the abandoned shell of the old station. Overhead a sub-orbital came in to land, and from the adaptoplant neighborhoods ringing the old stone buildings the sound of laughter could be heard, and someone playing the guitar. “It had been introduced into the battlefield during the Third Sinai Campaign, by one side, or the other, or both.” He fell quiet. “I am not even sure who we were fighting for,” he said. He took another drink of vodka. The almost pure alcohol served as fuel for the robotniks. Ezekiel said, “At first we paid it little enough attention. We’d find victims on dawn patrols. Men, women, robotniks. Wandering the dunes or the Red Sea shore, dazed, their minds leeched clean. The small wounds on their necks. Still. They were alive. Not ripped to shreds by Jub Jubs. But the data. We began to notice the enemy knew where to find us. Knew where we went. We began to be afraid of the dark. To never go out alone. Patrol in teams. But worse. For the ones who were bitten, and carried back by us, had turned, became the enemy’s own weapon. Nosferatu.”
Achimwene felt sweat on his forehead, took a step away from the fire. Away from them, the floating lanterns bobbed in the air. Someone cried in the distance and the cry was suddenly and inexplicably cut off, and Achimwene wondered if the street sweeping machines would find another corpse the next morning, lying in the gutter outside a shebeen or No. 1 Pin Street, the most notorious of the drug dens-cum-brothels of Central Station.
“They rose within our ranks. They fed in secret. Robotniks don’t sleep, Achimwene. Not the way the humans we used to be did. But we do turn off. Shut-eye. And they preyed on us, bleeding out minds, feeding on our feed. Do you know what it is like?” The robotnik’s voice didn’tgrow louder, but it carried. “We were human, once. The army took us off the battlefield, broken, dying. It grafted us into new bodies, made us into shiny, near-invulnerable killing machines. We had no legal rights, not any more. We were technically, and clinically, dead. We had few memories, if any, of what we once were. But those we had, we kept hold of, jealously. Hints to our old identity. The memory of feet in the rain. The smell of pine resin. A hug from a newborn baby whose name we no longer knew.
“And the strigoi were taking even those away from us.”
Achimwene looked at Carmel, but she was looking nowhere, her eyes were closed, her lips pressed together. “We finally grew wise to it,” Ezekiel said. “We began to hunt them down. If we found a victim we did not take them back. Not alive. We staked them, we cut off their heads, we burned the bodies. Have you ever opened a strigoi’s belly, Achimwene?” he motioned at Carmel. “Want to know what her insides look like?”
“No,” Achimwene said, but Ezekiel the robotnik ignored him. “Like cancer,” he said. “Strigoi is like robotnik, it is a human body subverted, cyborged. She isn’t human, Achimwene, however much you’d like to believe it. I remember the first one we cut open. The filaments inside. Moving. Still trying to spread. Nosferatu Protocol, we called it. What we had to do. Following the Nosferatu Protocol. Who created the virus? I don’t know. Us. Them. The Kunming Labs. Someone. St. Cohen only knows. All I know is how to kill them.”
Achimwene looked at Carmel. Her eyes were open now. She was staring at the robotnik. “I didn’t ask for this,” she said. “I am not a weapon. There is no fucking war!”
>
“There was—”
“There were a lot of things!”
A silence. At last, Ezekiel stirred. “So what do you want?” he said. He sounded tired. The bottle of vodka was nearly finished. Achimwene said, “What more can you tell us?”
“Nothing, Achi. I can tell you nothing. Only to be careful.” The robotnik laughed. “But it’s too late for that, isn’t it,” he said.
Achimwene was arranging his books when Boris came to see him. He heard the soft footsteps and the hesitant cough and straightened up, dusting his hands from the fragile books and looked at the man Carmel had come to Earth for.
“Achi.”
“Boris.”
He remembered him as a loose-limbed, gangly teenager. Seeing him like this was a shock. There was a thing growing on Boris’ neck. It was flesh-colored, but the color was slightly off to the rest of Boris’s skin. It seemed to breathe gently. Boris’s face was lined, he was still thin but there was an unhealthy nature to his thinness. “I heard you were back,” Achimwene said.
“My father,” Boris said, as though that explained everything.
“And we always thought you were the one who got away,” Achimwene said. Genuine curiosity made him add, “What was it like? In the Up and Out?”
“Strange,” Boris said. “The same.” He shrugged. “I don’t know.”
“So you are seeing my sister again.”
“Yes.”
“You’ve hurt her once before, Boris. Are you going to do it again?”
Boris opened his mouth, closed it again. He stood there, taking Achimwene back years. “I heard Carmel is staying with you,” Boris said at last.
“Yes.”
Again, an uncomfortable silence. Boris scanned the bookshelves, picked a book at random. “What’s this?” he said.
“Be careful with that!”
Boris looked startled. He stared at the small hardcover in his hands. “That’s a Captain Yuno,” Achimwene said, proudly. “Captain Yuno on a Dangerous Mission, the second of the three Sagi novels. The least rare of the three, admittedly, but still . . . priceless.”
Boris looked momentarily amused. “He was a kid taikonaut?” he said.
“Sagi envisioned a solar system teeming with intelligent alien life,” Achimwene said, primly. “He imagined a world government, and the people of Earth working together in peace.”
“No kidding. He must have been disappointed when—”
“This book is pre-spaceflight,” Achimwene said. Boris whistled. “So it’s old?”
“Yes.”
“And valuable?”
“Very.”
“How do you know all this stuff?”
“I read.”
Boris put the book back on the shelf, carefully. “Listen, Achi—” he said.
“No,” Achimwene said. “You listen. Whatever happened between you and Carmel is between you two. I won’t say I don’t care, because I’d be lying, but it is not my business. Do you have a claim on her?”
“What?” Boris said. “No. Achi, I’m just trying to—”
“To what?”
“To warn you. I know you’re not used to—” again he hesitated. Achimwene remembered Boris as someone of few words, even as a boy. Words did not come easy to him. “Not used to women?” Achimwene said, his anger tightly coiled.
Boris had to smile. “You have to admit—”
“I am not some, some—”
“She is not a woman, Achi. She’s a strigoi.”
Achimwene closed his eyes. Expelled breath. Opened his eyes again and regarded Boris levelly. “Is that all?” he said.
Boris held his eyes. After a moment, he seemed to deflate. “Very well,” he said.
“Yes.”
“I guess I’ll see you.”
“I guess.”
“Please pass my regards to Carmel.”
Achimwene nodded. Boris, at last, shrugged. Then he turned and left the store.
There comes a time in a man’s life when he realizes stories are lies. Things do not end neatly. The enforced narratives a human impinges on the chaotic mess that is life become empty labels, like the dried husks of corn such as are thrown down, in the summer months, from the adaptoplant neighborhoods high above Central Station, to litter the streets below.
He woke up in the night and the air was humid, and there was no wind. The window was open. Carmel was lying on her side, asleep, her small, naked body tangled up in the sheets. He watched her chest rise and fall, her breath even. A smear of what might have been blood on her lips. “Carmel?” he said, but quietly, and she didn’t hear. He rubbed her back. Her skin was smooth and warm. She moved sleepily under his hand, murmured something he didn’tcatch, and settled down again.
Achimwene stared out of the window, at the moon rising high above Central Station. A mystery was no longer a mystery once it was solved. What difference did it make how Carmel had come to be there, with him, at that moment? It was not facts that mattered, but feelings. He stared at the moon, thinking of that first human to land there, all those years before, that first human footprint in that alien dust.
Inside Carmel was asleep and he was awake, outside dogs howled up at the moon and, from somewhere, the image came to Achimwene of a man in a spacesuit turning at the sound, a man who does a little tap dance on the moon, on the dusty moon.
He lay back down and held on to Carmel and she turned, trustingly, and settled into his arms.
First published in Interzone #244,
January-February 2013.
About the Author
Lavie Tidhar is the author of A Man Lies Dreaming, The Violent Century, and the World Fantasy Award winning Osama. His other works include the Bookman Histories trilogy, several novellas, two collections and a forthcoming comics mini-series, Adler. He currently lives in London.
Dark Angels:
Insects in the Films of Guillermo del Toro
Orrin Grey
It’s no secret that Guillermo del Toro loves bugs. Insects and insect imagery play a major role in just about every movie in his filmography, from the fly-in-amber ghosts of The Devil’s Backbone to the Reapers of Blade 2 and the vampires of The Strain, with their hive-like social structures and insectile proboscises. Even Hellboy 2 and Pacific Rim prominently featured swarming tooth fairies and kaiju skin parasites, respectively.
Most of the time, these insects serve a primarily visual role, lending verisimilitude to a creature design or inspiring a monster’s behavior patterns, but del Toro’s inclination toward the insect doesn’t end with aesthetic appreciation. In several of his films, insects take on a more thematically dense role, their presence assuming an almost religious significance, with connections to divinity, the underworld, and eternal life.
Cronos (1993)
“Cronos is about immortality,” Guillermo del Toro says in Cabinet of Curiosities.1 Shot when he was only twenty-nine, it is the director’s first feature film, and also the one that lays the groundwork for many of the insect themes that will appear later in his oeuvre. The titular Cronos Device is a small, golden mechanism in the shape of an insect—with a living insect trapped inside—that grants its user eternal life by transforming them into something that we would recognize as a vampire.
Del Toro has said that his design of the Cronos Device was inspired by the jewel-encrusted Maquech Beetles that were popular as living jewelry when he was growing up in Mexico2 , but the Device also bears an obvious similarity to a reliquary, used to house the remains of saints. This similarity is only underscored by del Toro’s choice to first reveal the Device hidden inside the base of an archangel statue. In the commentary track for Cronos, del Toro says that he wanted the Catholic image of the archangel to hold inside itself the promise of a “more prosaic, more tangible eternal life.”3 It’s the first time that del Toro juxtaposes insects with Catholic imagery in his films, but it won’t be the last.
In his commentary, he describes his inspiration for the Device, which came from alchemy.
What most people know about alchemy is that it was the quest to find a way to transform lead into gold, but del Toro talks about the search for the “ultimate depuration of vile matter—be it lead or flesh—and turn it into the ultimate expression of itself. Be it gold or eternal life, eternal flesh.”4 The Device—through the living insect trapped inside it—draws out mortal blood, filters it, and replaces it, adding a drop of the alchemical “Fifth Essence” which brings with it eternal life.
Not only does Cronos mark the beginning of del Toro’s habit of linking insects with everlasting life, it also prefigures several of the themes that will come to play in his second film, Mimic, as the villainous industrialist de la Guardia in Cronos muses, “Who says insects aren’t God’s favored creatures?” It’s a sentiment that was meant to be echoed by the protagonists of Mimic years later, though the lines wound up on the cutting room floor.5 De la Guardia ultimately takes his reasoning further than Mimic was ever meant to, comparing insects to Jesus Christ and pointing out that, “the matter of the Resurrection is related to ants, to spiders,” as he describes spiders returning from seeming death after having been trapped in rock for years.
An anecdote from the set of Cronos tells as much about Guillermo del Toro the filmmaker as it does about the importance of insects in his films: The original budget for Cronos didn’t contain enough money to film the shots of the interior of the titular Device. Producers assured del Toro that he didn’t need the shots, but del Toro disagreed, and ended up selling his van in order to pay for the construction of a massive animatronic replica of the inside of the device—complete with rubber insect—through which the camera could be slowly passed. What could have been a silly or pointless sequence in less dedicated hands becomes not only a nod to the monster movie origins of Cronos, but also a profound moment of cinematic magic, one that shows the insect not as a monster or an angel, but as much a victim as any of the film’s human characters. It is perhaps the greatest condemnation of the allure of immortality in Cronos, as we see the insect suffering, trapped inside its golden prison, but unable to die.