Table of Contents
Title Page
Copyright Page
Dedication
Acknowledgements
Epigraph
Part 1
LIZ: Red Pill, Blue Pill
ANWAR: Job Interview
TOYMAKER: The Leith Police Dismisseth Us
LIZ: Morning After
ANWAR: Office Worker
TOYMAKER: Headhunter
LIZ: Black Swans
ANWAR: Diplomat
TOYMAKER: Hostile Takeover
LIZ: Snowballing Hell
ANWAR: Cousin Tariq
TOYMAKER: Reality Excursion
KEMAL: Spamcop
FELIX: First Citizen
THE OPERATION: Blofeld Blues
Part 2
LIZ: Mote, Eye, Redux
ANWAR: Running Scared
TOYMAKER: Fucktoy
DOROTHY: Safeword
TOYMAKER: Abused
LIZ: Bereavement Counselling
ANWAR: Sleep-walk
TOYMAKER: Happy Families
FELIX: E-commerce
ADAM: LOLspammers
Part 3
DOROTHY: Breakdown
LIZ: It’s Complicated
ANWAR: Getting Answers
DOROTHY: Rewind
LIZ: Project ATHENA
ANWAR: Bluebeard
LIZ: Dominoes Fall
ANWAR: Toymaker
LIZ: Protective Custody
FELIX: Hummingbird
DOROTHY: 2.0
LIZ: Debrief
ATHENA: Meatpuppet
Ace Books by Charles Stross
SINGULARITY SKY
IRON SUNRISE
ACCELERANDO
THE ATROCITY ARCHIVES
GLASSHOUSE
HALTING STATE
SATURN’S CHILDREN
THE JENNIFER MORGUE
WIRELESS
THE FULLER MEMORANDUM
RULE 34
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This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. The publisher does not have any control over and does not assume any responsibility for author or third-party websites or their content.
Copyright © 2011 by Charles Stross.
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Library of Congress Cataloging-in-Publication Data
Stross, Charles.
p. cm.
ISBN : 978-1-101-51664-5
1. Women detectives—Scotland—Fiction. 2. Ex-convicts—Crimes against—Fiction. 3. Computer crimes—Investigation—Fiction. 4. Murder—Investigation—Fiction. I. Title. II. Title: Rule thirty-four.
PR6119.T79R85 2011
823’.92—dc22
2011008662
http://us.penguingroup.com
For George and Leo
ACKNOWLEDGMENTS
No author works in a vacuum, and this book in particular benefited from the critical input of dozens of people. First and foremost I’d like to thank my agent Caitlin Blasdell for her patience and perseverance. I’d also like to thank my test readers, notably Stew Wilson, Marcus Rowland, Vernor Vinge, Sean Eric Fagan, David Skogsberg, Jeffrey Wilson, David Goldfarb, Soon Lee, Skip Huffman, Ross Younger, Harry and Omega, Dave Brown, Milena Popova, Anthony Cunningham, and Roy Øvrebø.
(If I’ve forgotten to mention you, please accept my grovelling apologies.)
In Scotland, you can’t believe how strong the homosexuals are.
—TELEVANGELIST PAT ROBERTSON, ON THE 700 CLUB, 1999 (ATTRIB: BBC NEWS)
Part 1
LIZ: Red Pill, Blue Pill
It’s a slow Tuesday afternoon, and you’re coming to the end of your shift on the West End control desk when Sergeant McDougall IMs you: INSPECTOR WANTED ON FATACC SCENE.
“Jesus fucking Christ,” you subvocalize, careful not to let it out aloud—the transcription software responds erratically to scatology, never mind eschatology—and wave two fingers at Mac’s icon. You can’t think of a reasonable excuse to dump it on D. I. Chu’s shoulders when he comes on shift, so that’s you on the spot: you with your shift-end paper-work looming, an evening’s appointment with the hair salon, and your dodgy gastric reflux.
You push back your chair, stretch, and wait while Mac’s icon pulses, then expands. “Jase. Talk to me.”
“Aye, mam. I’m on Dean Park Mews, attendin’ an accidental death, no witnesses. Constable Berman was first responder, an’ she called me in.” Jase pauses for a moment. There’s something odd about his voice, and there’s no video. “Victim’s cleaner was first on the scene, she had a wee panic, then called 112. Berman’s got her sittin’ doon with a cuppa in the living room while I log the scene.”
What he isn’t saying is probably more important than what he is, but in these goldfish-bowl days, no cop in their right mind is going to say anything prejudicial over an evidence channel. “No ambulance?” You prod. “Have you opened an HSE ticket already?”
“Ye ken a goner when ye see wan.” McDougall’s Loanhead accent comes out to play when he’s a tad stressed. “I didna want to spread this’un around, skipper, but it’s a two-wetsuit job. I don’ like to bug you, but I need a second opinion . . .”
Wow, that’s something out of the ordinary. A two-wetsuit job means kinky beyond the call of duty. You look at the map and see his push-pin. It’s easy walking distance, but you might as well bag a ride if there’s one in the shed. “I was about to go off shift. If you can hold it together for ten minutes, I’ll be along.”
“Aye, ma’am.”
You glance sideways across the desk. Sergeant Elvis—not his name, but the duck’s arse fits his hair-style—is either grooving to his iPod or he’s really customized his haptic interface. You wave at him, and he looks up. “I’ve got to head out, got a call,” you say, poking the red-glowing hover-fly case number across the desktop in his direction. He nods, catches it, and drags it down to his dock. “I’m off duty in ten, so you’re holding the fort. Ping me if anything comes up.”
Elvis bobs his head, then does something complex with his hands. “Yessir, ma’am. I’ll take care of things, you watch me.” Then he drops back into his cocoon of au
gmented reality. You can see him muttering under his breath, crooning lyrics to a musically themed interface. You sigh, then reach up, tear down the control room, wad it up into a ball of imaginary paper, and shove it across to sit in his desk. There’s a whole lot more to shift-end handover than that, but something tells you that McDougall’s case is going to take priority. And it’s down to the front desk to cadge a ride.
It’s an accident of fate that put you on the spot when Mac’s call came in; fate and personnel allocation policy, actually: all that, and politics beside.
You don’t usually sit in on the West End control centre, directing constables to shoplifting scenes and chasing hit-and-run cyclists. Nominally you’re in charge of the Rule 34 Squad: the booby-prize they gave you for backing the wrong side in a political bun-fight five years ago.
But policing is just as prone to management fads as any other profession, and it’s Policy this decade that all officers below the rank of chief inspector must put in a certain number of Core Community Policing hours on an annual basis, just to keep them in touch with Social Standards (whatever they are) and Mission-Oriented Focus Retention (whatever that is). Detective inspector is, as far as Policy is concerned, still a line rank rather than management.
And so you have to drag yourself away from your office for eight hours a month to supervise the kicking of litter-lout ass from the airconditioned comfort of a control room on the third floor of Fettes Avenue Police HQ. It could be worse: At least they don’t expect you to pound the pavement in person. Except Jason McDougall has called you out to do some rare on-site supervision on—
A two-wetsuit job.
Back in the naughty noughties a fifty-one-year-old Baptist minister was found dead in his Alabama home wearing not one but two wet suits and sundry bits of exotic rubber underwear, with a dildo up his arse. (The cover-up of the doubly-covered-up deceased finally fell before a Freedom of Information Act request.)
It’s not as if its like isnae well-known in Edinburgh, city of grey stone propriety and ministers stern and saturnine (with the most surprising personal habits). But propriety—and the exigencies of service under the mob of puritanical arseholes currently in the ascendant in Holyrood—dictates discretion. If Jase is calling it openly, it’s got to be pretty blatant. Excessively blatant. Tabloid grade, even.
Which means—
Enough of that. Let’s see if we can blag a ride, shall we?
“Afternoon, Inspector. What can I do for ye?”
You smile stiffly at the auxiliary behind the transport desk: “I’m looking for a ride. What have you got?”
He thinks for a moment. “Two wheels, or four?”
“Two will do. Not a bike, though.” You’re wearing a charcoal grey skirt suit and the police bikes are all standard hybrids, no step-through frames. It’s not dignified, and in these straitened times, your career needs all the dignity it can get. “Any segways?”
“Oh aye, mam, I can certainly do one of those for ye!” His face clears, and he beckons you round the counter and into the shed.
A couple of minutes later you’re standing on top of a Lothian and Borders Police segway, the breeze blowing your hair back as you dodge the decaying speed pillows on the driveway leading past the stables to the main road. You’d prefer a car, but your team’s carbon quota is low, and you’d rather save it for real emergencies. Meanwhile, you take the path at a walk, trying not to lean forward too far.
Police segways come with blues and twos, Taser racks and overdrive: But if you go above walking pace, they invariably lean forward until you resemble a character in an old Roadrunner cartoon. Looking like Wile E. Coyote is undignified, which is not a good way to impress the senior management whether or not you’re angling for promotion, especially in the current political climate. (Not that you are angling for promotion, but . . . politics.) So you ride sedately towards Comely Bank Road, and the twitching curtains and discreet perversions of Stockbridge.
Crime and architecture are intimately related. In the case of the red stone tenements and Victorian villas of Morningside, it’s mostly theft from cars and burglary from the aforementioned posh digs. You’re still logged in as you ride past the permanent log-jam of residents’ Chelsea Tractors—those such as live here can afford to fill up their hybrid SUVs, despite the ongoing fuel crunch—and the eccentric and colourful boutique shops. You roll round a tight corner and up an avenue of big stone houses with tiny wee gardens fronting the road until you reach the address Sergeant McDougall gave you.
Here’s your first surprise: It’s not a tenement or a villa—it’s a whole town house, three stories high and not split for multiple occupancy. It’s got to be worth something north of half a million, which in these deflationary times is more than you’ll likely earn in the rest of your working life. And then there’s your next surprise: When you glance at it in CopSpace, there’s a big twirling red flag over it, and you recognize the name of the owner. Shit.
CopSpace—the augmented-reality interface to all the accumulated policing and intelligence databases around which your job revolves—rots the brain, corroding the ability to rote-memorize every villain’s face and backstory. But you know this guy of old: He’s one of the rare memorable cases.
You ride up to the front door-step and park. The door is standing ajar—Jase is clearly expecting company. “Police,” you call inside, scanning the scene. High hall ceiling, solid oak doors to either side, traditional whitewashed walls and cornice-work and maroon ceiling. Someone’s restored this town house to its early-nineteenth-century splendour, leaving only a handful of recessed LED spots and covered mains sockets to remind you which century you’re standing in.
A constable sticks her head around the door at the end of the hall. “Ma’am?” CopSpace overlays her with a name and number: BERMAN, MARGARET, PC 1022. Medium build, blond highlights, and hazel-nut eyes behind her specs. “Sergeant McDougall’s in the bathroom upstairs: I’m taking a statement from the witness. Are you here to take over?” She sounds anxious, which is never a good sign in Lothian and Borders’ finest.
You do a three-sixty as Sergeant McDougall comes to the top of the stairs: “Aye, skipper?” He leans over the banister. “You’ll be wanting to see what’s up here . . .”
“Wait one,” you tell Berman. Then you take the stairs as fast as you can.
Little details stick in your mind. The picture rails in the hall (from which hang boringly framed prints depicting the city as it might once have looked), the discreet motion detectors and camera nodes in the corners of the hall ceiling. The house smells clean, sterile, as if it’s been mothballed and bubble-wrapped. Jase takes a step back and gestures across the landing at an open door through which enough afternoon daylight filters that you can see his expression. You whip your specs off, and after a momentary pause, he follows suit. “Give me just the executive summary,” you tell him.
McDougall nods tiredly. Thirtyish, sandy-haired, and built like a rugby prop, he could be your classic recruiter’s model for community policing. “Off the record,” he says—on the record, in the event one of your head cams is still snooping, or the householder’s ambient lifelogging, or a passing newsrag surveillance drone, or God: But at least it serves notice of intent to invoke the Privacy Act—“This’n’s a stoater, boss. But it looks like ’e did it to ’isself, to a first approximation.”
You take a deep breath and nod. “Okay, let’s take a look.” You clip your specs back on and follow Jase into the bathroom of the late Michael Blair, esq., also known as Prisoner 972284.
The first thing you clock is that the bathroom’s about the size of an aircraft hangar. Slate tile floor, chrome fittings and fixtures, expensive curved-glass shower with a bar-stool and some kind of funky robot arm to scoosh the water-jet right up your fanny—like an expensive private surgery rather than a temple of hygiene. About the stainless steel manacles bolted to the wall and floor inside the shower cubicle we’ll say no more. It is apparent that for every euro the late Michael Bl
air, esq., spent on his front hall, he spent ten on the bathroom. But that’s just the beginning, because beyond the shower and the imported Japanese toilet seat with the control panel and heated bumrest, there stands a splendid ceramic pedestal of a sink—one could reasonably accuse the late Mr. Blair of mistaking overblown excess for good taste—and then a steep descent into lunacy.
Mikey, as you knew him before he became (the former) Prisoner 972284, is lying foetal on the floor in front of some kind of antique machine the size of a washer/dryer. It’s clearly a plumbing appliance of some kind, enamelled in pale green trimmed with chrome, sprouting pipes capped with metal gauges and thumb-wheels that are tarnished down to their brass cores, the metal flowers of a modernist ecosystem. The letters CCCP and a red enamel star feature prominently on what passes for a control panel. Mikey is connected to the aforementioned plumbing appliance by a sinuous, braided-metal pipe leading to a chromed tube, which is plugged straight into his—
Jesus. It is a two-wetsuit job.
You glance at Jase. “Tell me you haven’t touched anything?”
He nods, then adds, “I canna speak for the cleaner, ma’am.”
“Okay, logged.”
You walk around the corpse carefully, scanning with your specs and muttering a continuous commentary of voice tags for the scene stream. Michael Blair, esq.—age 49, weight 98 kilos, height 182 centimetres, brown hair (thinning on top, number two cut rather than comb-over)—has clearly been dead for a few hours, going by his body temperature. Middle-aged man, dead on bathroom floor: face bluish, eyes bulging like he’s had an aortic aneurysm. That stuff’s modal for Morningside. It’s the other circumstances that are the issue.
Rule 34 Page 1