W. D. KILPACK III
W.D. Kilpack III is an award-winning and critically acclaimed internationally published writer, with works appearing in print, online, radio and television, starting with his first publication credit at the age of nine, when he wrote an award-winning poem. As an adult, his first two novels, Crown Prince and Order of Light, both received the Firebird Book Award, while Crown Prince received The BookFest Award. He also received special recognition from L. Ron Hubbard’s Writers of the Future Contest for his novella, Pale Face. He has been editor and/or publisher of 19 news and literary publications, both online and in print, with circulations as high as 770,000. He is an accomplished cook and has two claims he thinks few can match: cooking nearly every type of food on a grill; and nearly being knocked flat when his grill exploded.
He received both his bachelor’s and master’s degrees from Westminster College of Salt Lake City. As an undergrad, he double majored in communication and philosophy while completing the Honours Program. As a graduate student, he earned a Master of Professional Communication with a writing emphasis. He was also a high-performing athlete, qualifying for international competition in Greco-Roman wrestling.
He is a communication professor, and a nationally recognized wrestling coach. He is happily married to his high-school sweetheart and is a father to five children, as well as helping to raise five stepchildren. He was born in Salt Lake City, Utah, where he continues to live, coach, and teach.
Q. WHAT ADVICE WOULD YOU GIVE TO NEW AUTHORS THAT YOU WISHED YOU HAD RECEIVED YOURSELF WHEN YOU STARTED?
A. The best advice I have is write, write, write. You see a movie and a line of dialogue has you going down another path, write it down. You hear a song and a lyric strikes you, write it down. The best advice for someone wanting to be a writer is just that: start.
Q. DO YOU VIEW YOUR WRITING AS A KIND OF SPIRITUAL PRACTICE?
A. I wouldn’t use the word “spiritual,” although I could see someone thinking something along those lines. I didn’t have a computer until after I got married, so I used to have a red three-ring binder full of lined paper so I could sit and write whenever I felt the compulsion. In fact, at my most recent high-school reunion, I was shocked at how many people mentioned that binder to me (I guess it was timely since I had published a novel) and how much of an impression that it had on them.
Q. WHEN YOU READ YOUR BOOK REVIEWS HOW DO YOU HANDLE THE BAD ONES?
A. You can’t please everyone. It’s impossible. That said, authors put their work out for the public to see. In college, there was an English professor who sent the campus newspaper weekly hate mail. She didn’t like that we used the Associated Press Stylebook, she didn’t like who was quoted, she didn’t like the photos (granted, being weekly, we sometimes didn’t have time to reshoot), etc. This helped me develop a thicker skin. So, when I get a bad review, I vent with my wife, then I let it go. It’s not always easy. Bottom line: how many books has that person written? None? Then that person has no idea how much time, effort, sleepless nights, waking up at 3 a.m. and going down to write or you’ll never get back to sleep, etc., is involved. That’s how I deal with it.
Q. HOW DO YOU FEEL WHEN YOU DO GET A GOOD REVIEW?
A. There’s really nothing quite as gratifying as a good, well-written review. I love it when I read a review, and can sit back and say, “There’s somebody who gets it!” Or, even better, “Wow, I didn’t think about it like that!” That’s very cool, also.
Q. HAVE YOU EVER CONSIDER WRITING UNDER A PSEUDONYM?
A. No. I have published professionally under W.D. Kilpack III since I was 15.
Q. DO YOU WRITE EVERY DAY? HOW MANY HOURS A DAY DO YOU WRITE?
A. I write every day, without fail. I can’t not write. There are times when I have been writing for 12-14 hours straight. Other times, a lot less. It depends on the day, what else is going on, etc. For example, with my next novel, I have been working on the cover art. So I have not been putting in as much time writing as usual.
Q. HOW MUCH OF YOUR PERSONAL LIFE DO YOU INCORPORATE INTO YOUR WRITING OR DO YOU MAKE UP EVERYTHING?
A. Doesn’t every character have at least a little bit of autobiography in it? Otherwise, I don’t think it would be believable at all. But there are different degrees of it in different characters. In the New Blood Saga, Natharr has a bad knee. That’s definitely from my life (my left knee ended my wrestling career). In the miniseries I wrote, the main character was a world champ Greco-Roman wrestler (I qualified to represent the USA in Greco-Roman).
Q. HOW DO YOU CONNECT WITH YOUR READERS? DO YOU OFFER THEM A FREE BOOK? DO YOU OFFER THEM A NEWSLETTER?
A. I have never offered free books. You get what you pay for and I don’t think that’s right to expect to receive my tens of thousands of hours of work for free. I offer a free chapter. I have newsletters. I have just about every type of social media. I have readers who send me photos of themselves holding my books! (I really love that!)
Q. DO YOU HAVE A FAVORITE AUTHOR? CAN YOU TELL US WHY? EVERYTHING?
A. I love science fiction and fantasy. My influences include Homer, J.R.R. Tolkien, Terry Brooks, Stephen R. Donaldson, George R.R. Martin, Robert Jordan, David Eddings, Piers Anthony, Robert Holdstock, Robert Adams, John Norman, Melanie Rawn, Shakespeare, Aristotle, James Cameron, Aaron Sorkin, Quentin Tarantino, Steven Spielberg, and Robert Frost. The most inspirational writers would be Homer, Tolkien, Martin, Artistotle, Shakespeare, and Sorkin. Aside from the Iliad and the Odyssey just being great stories, that they were written so incredibly long ago just makes them that much more amazing. Tolkien, of course, took the fantasy genre to a new level, showing us all how the Homeric quest story can be repackaged. Martin has championed my favourite type of fantasy, which I call “realistic fantasy,” where the people have real-life issues they are dealing with, and magic is more subtle. Aristotle’s writings are awe-inspiring because he was writing in 350 B.C.E., yet they’re still relevant and the basis of so much in society. I love William Shakespeare’s poetry and plays (MacBeth is my favourite). For screenwriting, I am continuously in awe of how Sorkin’s characters are so incredibly intelligent, taking complex concepts and expressing them with rapid-fire ease, without turning them into Rainman or Gandalf.
Q. HOW LONG DO YOU RESEARCH BEFORE YOU BEGIN YOUR NEXT BOOK?
A. Research plays a huge role in my writing, but I can’t quantify how long it takes. In my fantasy writing, I do a lot of research into specific cultures, technology that was available in medieval times, even word usage. It makes the world more real. As a result, I have people ask, “How did you come up with that?” I answer, “I didn’t. It was still in practice in England till the 1880s.” For my science fiction, research plays an even bigger role, with the latest discoveries in space exploration, even quantum physics.
Q. WHAT ARE THE ETHICS OF WRITING ABOUT HISTORICAL FIGURES?
A. If you are writing history, then be accurate. Do not misrepresent. Your job is to give an accurate depiction of what happened, not to dress it up and make it palatable. People need to look at history and learn from it, not pretend that it never happened.
If you’re writing fiction, it depends on how long ago the person lived. If it’s recent, you need to be very careful. If it’s more than 50 years ago, then you can be more free. More than a century, even more. However, if asked, I would never be afraid to say that a character was inspired by someone. For example, at a very deep level, Natharr, the main character in the New Blood Saga, was inspired by Socrates.
Q. WOULD YOU GO BACK AND REWRITE ANY OF YOUR BOOKS? WHY?
A. Not yet. Knock on wood.
Q. IF YOU COULD GIVE UP ONE THING TO BECOME A BETTER WRITER WHAT WOULD THAT BE?
A. I’m already giving up plenty of sleep to meet deadlines. (I had about a six-week streak of two hours a night.) I think that’s enough.
Q. TELL US A LITTLE ABOUT YOURSELF. ARE YOU MARRIED? HAVE CHILDREN/GRANDCHILDREN? IS THERE A SPECIAL DOG/CAT/BIRD IN YOUR LIFE?
A. I am married to my high-school sweetheart. I have five children and helped raise ten. I have 10 grandchildren with another coming. I have always had pets, usually cats (I once had 14 of them!) but right now, I am without a pet for the first time in my life and am enjoying it. Maybe it goes along with empty-nesting, appreciating having no other responsibilities.
Q. DO YOU HAVE A DAY JOB OR ARE YOU A FULL-TIME WRITER?
A. I am writing full time, freelancing with short stories and news, my novels, and screenwriting.
Q. ANY HOBBIES? DO THEY HELP YOU IN YOUR WRITING?
A. I coached wrestling for more than 20 years but have retired. That helps my writing, because it gave me the time to focus here, rather than there. I love to cook. I prefer quality, home-cooked meals, particularly since I would likely be the one cooking them. I’m a good cook (better than a lot of restaurants I’ve been) and enjoy the creative process. I love exploring new flavors and styles of cooking, and of course the sense of accomplishment when something I cook turns out just as I had hoped. If it comes out better than I hoped, then that’s certainly worth a cheer. Cooking also helps add some depth to my world-building, because I love mastering different types of ethnic cuisines. Food is a big part of culture.
A. DID YOU JUST KNOW YOU WANTED TO BE A WRITER OR DID YOU HAVE A PARTICULAR EXPERIENCE THAT MADE YOU WANT TO START WRITING?
A. My first dream job was to be a cartoonist. I wanted to start my own line of comic books (or work for Marvel). I loved superheroes (and still do!) and would draw the comics, as well as write the stories. My first comic-book character was Super Mouse, created when I was 5 or 6. He was pretty much Superman, but a mouse, and he beat up cats. It was very serious stuff, not Tom and Jerry. I was first published when I was 9, when a teacher entered a poem I wrote into a contest without my knowledge. It won and was published. But the real pivotal moment was when I was 12. Mrs. Ferrin, who taught my Language Arts and Gifted & Talented classes, told me to write a chapter of a book for every writing assignment, rather than the regular assignments. By the end of the year, I wrote my first fantasy novel, and that changed everything.
Q. WHAT IS CURRENTLY LACKING IN OUR CHILDREN'S EDUCATION TODAY IN YOUR COUNTRY?
A. I taught college for 25 years. In the last 10 years, things changed. What is lacking most is responsibility. Parents of college students started calling me (I couldn’t even discuss anything with them; it’s illegal). Those same parents prevented teachers from doing their jobs before that, so I had half my students who have never written a paper.
Q. DO YOU HAVE A FAVORITE CHILDHOOD BOOK?
A. I read every book on mythology in my elementary-school library. However, a single book that was my favorite would have to be Snow Dog by Jim Kjeelgard. It was something along the lines of White Fang by Jack London, but I liked it more. It was more about the dog, less about the owner. I liked the story being so much from the perspective of the dog. I was also fascinated with the environment, which led to Alaska being one of my bullet-list destinations (which I recently got to cross off my list).
Q. HOW DO YOU COME UP WITH THE TITLES FOR YOUR BOOKS?
A. I like short titles, although I’m not afraid of subtitles. I nail down the core of the story for the particular volume and name the book for it. I have also named books for less-analytical reasons. For example, one book I wrote (not yet published) is named for something that the main character says several times throughout the book. He doesn’t like his actual name, so he instructs people to call him by a nickname. That became the title of the book.
Q. WHAT ARE YOUR TOP THREE FAVORITE TYPES OF MUSIC? DO THEY HELP YOU WITH YOUR WRITING?
A. I am a metal head. I love heavy metal. I can sit with loud guitars blaring, focus on my writing and bang my head, all at the same time. (Some of my favorites are KISS, Def Leppard, Twisted Sister, and Shinedown.) I also love Southern rock and can sit and sing along while writing. (Some favorites are Lynyrd Skynyrd, .38 Special, Tangier, and the Steel Woods.) In a totally different direction, I love Celtic music. There’s something about the violin and the ethereal quality of the women’s voices that can transport me to another time and place. On the rare occasions where I’m having trouble getting into the zone, if I’m writing fantasy, Celtic music will take me there.
Q. WHAT DOES YOUR WRITING SPACE LOOK LIKE?
A. My wife and I have an office that we share. I have a wall of bookshelves with lots of knickknacks, toys from various sci-fi and fantasy books, movies, even games, and then I have knives and swords. I have an LED display of the Starship Enterprise next to my lava lamp and an autographed photo of Captain Kirk. It’s a pretty fun place to be.
Q. WHAT HAS BEEN THE MOST DIFFICULT PART FOR YOU WHEN IT COMES TO WRITING?
A. Time. There are not enough hours in the day.
Q. WHAT DOES YOUR FAMILY THINK ABOUT YOUR WRITING?
A. They are very supportive. I played Dungeons & Dragons with my kids, so they actually know some of my book characters, because I rolled them up. I read my books to my wife (her bedtime stories) and she gives me feedback that is essential, especially with female characters. She also reads my stuff and makes editing suggestions here and there.
Q. IF YOU COULD PICK ONE OF YOUR BOOKS TO BECOME A MOVIE BLOCKBUSTER, WHICH BOOK WOULD THAT BE AND WHO WOULD YOU LIKE TO PLAY THE CHARACTERS?
A. The New Blood Saga is epic, but I don’t know that it would be done justice on the big screen. I think it would have to be a series to contain everything that’s in it. My sci-fi novella, Pale Face, is already being discussed for a movie for which I will write the screenplay. (Stay tuned for updates!)
Q. WHEN WRITING DO YOU TRY TO GIVE YOUR READERS WHAT THEY WANT OR DO YOU GO FOR ORIGINALITY?
A. I try to surprise myself. If I sit back and say, “Whoa! I didn’t see THAT coming!” then it will definitely surprise the reader. As far as giving them what they want, that’s impossible to know what they want. People are different. I just write a good story, with good characters, that does not follow the norms.
Q. AS A WRITER, WHAT WOULD YOU CHOOSE AS YOUR MASCOT/AVATAR/SPIRIT ANIMAL? WHY?
A. I can’t remember where but, somewhere, some sort of medium told me that my spirit animal was the tiger. The strange thing was, my mom had been saying that for years, and painted one that I have framed and hung on my wall to this day. I can’t explain it. But I think it fits, particularly their solitary nature.
Q. HOW DO YOU MARKET YOUR BOOKS? WHAT IS YOUR FAVORITE WAY? WHAT IS YOUR LEAST FAVORITE WAY?
A. I have a background in marketing and PR, so I use both traditional social media, as well as going to Cons. My favorite would have to be the Cons. They’re just fun. Hasn’t happened yet, but I can’t wait for someone to come up dressed as one of my characters. My least favorite … nothing, really. It’s all just part of the job. Can’t have one without the other.
Q. DO YOU CONSIDER YOURSELF AN AUTHOR OR A WRITER FIRST? WHY?
A. I don’t see a difference between the two.
Q. WHO DO YOU TRUST TO GIVE YOU OBJECTIVE AND CONSTRUCTIVE CRITICISM OF YOUR WRITING?
A. My wife. She’s got a great eye for detail, is a great editor, and has a is psychology. So her comments are valuable. If she says, “I don’t think that character would say that,” or “say that in that way,” then I’ve got some rewriting to do. It’s that simple.
Q. HOW LONG, ON AVERAGE, DOES IT TAKE YOU TO WRITE A BOOK?
A. It depends on what else is going on in life. However, I am the most prolific writer I know. I have never met anyone who could outproduce me. As an experiment, one of the times I was laid off, I decided to treat writing as my full-time job. I didn’t have a computer at home, but I wrote every day for eight to twelve hours a day. I wrote the first draft of a novel in less than three weeks. When I wrote the pilot for a miniseries, I was given 60 days. I wrote the first draft (that only received two notes in return) in nine days.
Q. DO YOU OUTLINE YOUR BOOK BEFORE WRITING IT OR DO YOU JUST PLOT ALONG AND HOPE FOR THE BEST?
A. I do not outline my books. I have an idea of where the stories are going, and there are times when I have to sit and write; I really don’t have any choice. So I write at least a paragraph to nail down the idea, although that usually goes from one paragraph to two, then three, then often into twenty pages.
Q. HAVE YOU EVER GOOGLE YOURSELF? IF SO, WHAT DID YOU FIND THAT SURPRISED YOU?
A. I have Googled myself. I do it every so often. Nowadays, I am usually pleasantly surprised by finding reviews that I didn’t know about.
Q. WHEN YOU WRITE YOUR BOOK DO YOU WRITE FROM A PERSPECTIVE OF YOUR YOUTH, MIDDLE AGE OR GOLDEN YEARS IN MIND?
A. I don’t write a book from my perspective. I write from the perspective of the character. If it’s first person, then very much that character’s perspective, with all its limitations. If third person, then from that person point of view until I shift into the next sub-chapter.
Q. HAVE YOU PUBLISHED IN A TRADITIONAL WAY, OR SELF-PUBLISHED OR BOTH? WHY DID YOU CHOOSE THIS METHOD?
A. I have published both ways with my shorter works, but my novels are self-published. I chose self-publishing because I had enough of editors telling me what I could/could not write. This was much more personal to me, so I was not handing off the reins.
Q. DOES WRITING EXHAUST YOU OR ENERGIZE YOU? HOW?
A. Writing is not exhausting. It is fulfilling. Creating is joy. I love coming up with characters and worlds, then breathing life into them. I love taking something and turning it on its ear, giving it a different look, a different perspective that people may not have considered. That’s how I feel about writing: it is creation. I have been writing stories since before I could write (I drew them then). It’s never been exhausting.
Q. WHAT WAS THE FIRST BOOK THAT MADE YOU CRY?
A. Where the Red Fern Grows by Wilson Rawls. I read it in third grade and it crushed me. I was never a dog person (I learned later that I was allergic to them), but the story of the boy and his dogs did me in. That got me going on the Jim Kjeelgard books. They got me going on Jack London.
Q. DO YOU HAVE OTHER WRITERS THAT HAVE HELPED YOU ALONG YOUR WAY? HOW?
A. I like to watch Westerns (movies), but I have never read a Western novel. However, Louis L’Amour changed my life. I read an interview with him in an in-flight magazine when I was 14. It was in Q&A format. The first question was half a column, listing all his accomplishments with his books, TV and movies based on his books. The last line of the question was, “How did you do it?” His answer was two words, and it had a profound impact on every aspect of my life. He said, “I started.” So, whenever I was in doubt, I started. And that was all it took.
Q. WHAT DID YOU DO WITH YOUR FIRST BOOK ADVANCE MONEY?
A. Since I’m self-published, I left it in my wallet.
Q. WOULD YOU RECOMMEND SELF-PUBLISHING TO NEW AUTHORS? WHY?
A. Absolutely. It allows you to have control without being manipulated and robbed of your intellectual property (as long as you spend the $65 and copyright it). There are a LOT of snakes out there. If you self-publish, the only real snakes in the publishing process are inexperience and self-doubt. You can overcome those. It’s a lot harder if someone has taken your brainchild and you have no recourse after but to watch them make millions off a stolen idea.
Q. WHAT IS THE MOST DIFFICULT THING YOU HAVE FOUND WHEN WRITING CHARACTERS OF THE OPPOSITE SEX?
A. Just that: it’s a woman. When I was teaching college, I spent one entire class period dedicated specifically to the differences between how men and women communicate. Those differences are very real, right down to the male and female brains. The difference between the male brain and female brain is about 8%. May not sound like much, but the difference between the human and the chimpanzee brain is also about 8%. And, yes, men are on the chimp end of that stick. So, when I write women, I always have my wife read it, and ask her specific questions about specific areas. I did this just yesterday. She told me it was fine. I said, “But what about this paragraph?” She said it was fine. I said, “But wouldn’t she think something more?” She said, “No, I think you covered it.” That’s not the typical experience, by the way. One of her most common responses is, “I don’t think a woman would say it like that.”
Q. ARE YOUR CHARACTERS ‘REAL’ OR DO THEY COME OUT OF YOUR IMAGINATION OR DO YOU BASE THEM ON SOMEONE YOU KNOW?
A. It comes down to a matter of degree. Some characters are inspired by people I know, characters in movies or books or songs or even bands I love. Some are in homage to those people. Some are in direct response to a character: so and so did this in his book, so I’m not going to do anything like that, I’m going to do this.
Q. WHAT DID YOU EDIT OUT OF YOUR LATEST NOVEL? A SCENE? A CHARACTER? A SUBPLOT? WHY?
A. Rilari: Book Four of New Blood was getting so incredibly long, that I took the final four chapters and moved them to the next book. It was still my longest book to date, but it made for a real cliffhanger of an ending.
GOD OF LIFE – GOD OF DEATH
The silence was broken only by the soft rustle of the breeze in the sweet, resinous scent of the firs and deep grass. The skies were a blue so rich that the pine needles were light in comparison. Distantly, the pounding roar of the waterfall reached her questing ears. She altered her course slightly, heading toward it, trusting more in her ears than her memory of landmarks. She trotted smoothly, her joints loose and relaxed under her cougar-skin smock, her bare feet thick with callus from a lifetime of travel, following the herds. Her name was Ena, named for the sound made by the mouse-deer when it was spitted on a spear. It was an insult, cast upon a newborn that would not live through the night.
But she did.
Reddish-brown, ratted tangles hung down about her muscular shoulders, the frazzled tips brushing her waist as she continued her pace, eager to catch up with the clan before sunset. Her smock was pieced together from different cougar hides, some of them the color of sand, others more red, others shaded more toward gray. All marked her as one of the Clan of the Great Cat, one of the fiercest of the clans. She was proud of her clan … even if they did hide her when fighting other clans. It would not do to have one who looked like her noticed by other clans. Her face was finely boned, with a pert nose, full lips and large, blue eyes. All were at odds with the rest of her clan, who were much heavier in the brow and nose, with dark eyes and hair. Ena favored her mother, taken captive after a battle between clans by her father. Ena was never as strong as the others were, and she did not have as keen a sense of smell, but she was faster, more nimble, and much more cunning.
Ena looked up at the sky with a gasp, then let out a relieved breath. It was only a dark mound of white drifting across the sun, not actual sunset darkening the sky. Nonetheless, it was nearer dusk than she liked. She hefted her bone-tipped spear in her left hand as she ran even harder. Not only was she further behind the others than was acceptable, she was also empty-handed, no game to show for it.
The ground steadily grew harder and less grassy as the firs closed in about her, enfolding her in dim, sweet shadow. It was welcome, helping her maintain her pace without as much of the sun’s heat. Then again, it muted the sounds of Sea God’s Gate, the angry waterfall that was the agreed-upon meeting place. She was no longer certain how much longer she had to run. She could just imagine coming out of the trees and stepping off the edge of the jagged cliff, to fall down with the tumbling water, just one more droplet amidst the rains of all tomorrows.
Ena burst out of the trees and stumbled to a frantic halt, not because of a deadly fall, but because of the looming monstrosity of the waterfall rising a hundred feet above. She had been wrong. She was off course, ending up at the base of the waterfall, rather than at its top. She did not understand it, but it had happened. She was in the basin, a round hole cut into the stone, and the thunder of plummeting water coming down smooth stone to a massive pool was deafening. Mist was everywhere, enshrouding its base, casting the sun’s rays into the bands of the rainbow as it drifted steadily toward her. Ena smiled, letting the moisture settle on her skin and cool her overworked muscles. She extended her arms to the sides, watching droplets form on the pale hairs on her forearms, weighing them down until they slid down her skin, dragging away the dirt and leaving trails of pink behind. How could it be forbidden to enter the basin? It was wonderful.
Her spear smacked onto the bare rock at her feet as she hurriedly pulled off her single, smock-like garment. The skin crumpled in on itself in a cloud of dust, mites and burrs. Ena watched more mist condense on her skin and rubbed at it with her palms, drawing streaks of thin mud across her body. She slid both palms over her face and into her hair, exulting in the cleansing chill—
There was no pain as a bone-tipped spear tore through her flesh, parting her ribs, then meeting the rock at her feet. Dazedly, she looked down at it, jutting upward, grasped it with both hands, and looked up at the rim of the basin … where she was supposed to have met up with the rest of her clan … saw her attacker, dressed in a cougar-skin smock like the one at her feet. She tried to move, but the bone tip was caught in a crack in the stone, holding her upright until she finally fell to her side. The impact forced the breath from her lungs … and she was unable to take in another.
Death.
* * *
“So futile,” the god of life said, staring into his mead-filled goblet, the last scene of Ena’s life continuing to fade from its surface. His features were handsome, his jaw square and strong, his long hair black and thick, draping his broad shoulders. His skin was smooth, his frame well-muscled and powerful.
“Yes,” the god of death agreed, then bit off what remained of an immortal thumbnail, and all traces of Ena winked out. He stuck out his tongue, a bit of thumbnail stuck to its pink tip, and blew sharply, dislodging it. He slid his fingertip over the uneven, partially exposed nailbed. When his thumbnail was once again exposed, it was perfect and whole. He wiped the saliva on the pale cloth draping his perfect form disinterestedly. Unlike his brother, he was thin to the point of emaciation, as if being eaten away from the inside. His black hair was thin and wispy, hanging lankly. “I cannot see why you even bother with them, Coriageddon.”
The god of life drank, spilling a little down from the corner of his mouth, then looked at Dirroden over the brim of his goblet, his deep-green irises completely smooth, not even marred by pupils. He wiped the side of his mouth with the back of his wrist, spilling more mead on the uneven, stone floor of the cave. “Bother?” he repeated. “It is no bother, good brother,” he breathed, sipping again from the goblet. “But it is … frustrating.” He paused, then added, “At times. I had thought that, perhaps, I had found a mortal worthy of my attention.”
Dirroden arched his brows and his eyes yawned wide, black sclera with perfect, white irises just as smooth and unmarred as Coriageddon’s. “But you were wrong.”
Coriageddon nodded, a barely perceptible movement. “Yes, good brother, I was wrong.”
“Again,” Dirroden said, pointing a bony finger at his brother for emphasis.
“Again,” the other agreed. “Once again, you make my efforts seem futile.”
Dirroden smiled. “Not futile, good brother. Your efforts do, indeed, produce.”
Coriageddon drained his goblet and folded his muscular arms over his formless smock. “Very well. If not futile, then how would you describe it?”
“Foolish,” the other answered quickly.
“There you are wrong, good brother,” Coriageddon said, wagging a finger. “I am not devoid of good sense, nor do I lack in intellect.”
“Where you are a fool, my sibling, is by showing such interest in these mortals,” Dirroden stated simply. “Mortals, females in particular, are not worthy of us.”
“How so?”
“We are life and death.”
“I am life. Females are the fonts from which life springs.” He smiled triumphantly. “They must be at least a little worthy, I would say.”
Dirroden frowned at him, jaw muscles working under his paper-thin skin, then growled, “You are a fool.” He bit into his thumbnail several times in succession.
Snap, snap, snap, snap!
He lifted his chin and puffed, blowing more chips negligently onto the floor.
“More lives gone,” Coriageddon said, then sighed thinly. “You have bitten away more souls. Out of spite, this time.” The other did not respond. Coriageddon walked slowly toward the raw, stone wall, fingertips sliding across the cave roof, leaving a trail of blue-white astral light in his wake. When he looked back, the four distinct, glowing lines remained, making his perfect form even more clear in the brighter light. “Will you ever tire of such duty? Or, at least, delay long enough for me to find even a moment’s happiness?”
Dirroden frowned, then slapped the ceiling petulantly, dousing the glow with each contact as if it was a line of candle flames. When he reached Coriageddon, they stood nose to nose, the remaining focused light shining down on him. Dirroden hesitated, then turned away again, leaving what remained. “That would defeat your purpose, brother,” he said. “If you found happiness, your reveries would end. Life springs forth from your fantasizing. So, no, I will never tire.”
“My purpose or yours?” Coriageddon asked.
“Hmn?”
“You said my happiness would defeat my purpose. I ask if it would actually defeat yours.”
Dirroden frowned at his brother, then gestured irritably. “Stop searching. Just dream, for you will never succeed.” He bit another chip of nail off his thumb — snap! — and puffed it onto the stone floor between his ankles. “You will never succeed while all lives end at my feet.”
Coriageddon nodded, as he had so many times before through the aeons. “Yes, good brother.” He crossed the cavern of eternity, so much of it raw stone, until he reached a place where it was recessed, a space just right for him to sit and rest his arms on either side, like a great throne. He closed his eyes and reached out for a sense of comfort, and the stone warmed, exuding heat that soothed his frame. He imagined beautiful skies, green grass . . . then felt the delicate life spawned from it on Earth.
The snap of Dirroden chewing his bothersome thumbnail jerked him out of his musings, his pupil-less irises jerking toward the far side of the cave. Dirroden sat in a space just like Coriageddon’s, but narrower, and they locked eyes. Coriageddon closed his eyes, exhaling softly.
* * *
Aeons are nothing for immortals, just as they are for mortals. In fact, the former might feel them more than the latter, in their thoughts, if not their physical forms. As Coriageddon considered it, he realized that mortals felt them not at all. It was an interesting concept.
As it turned out, Dirroden had been wrong. Finding happiness did not stop Coriageddon from dreaming. If anything, happiness made him dream even more. He got better at creating mortals with gifts, companions for a time, men or women. It did not matter which, because he starved for friendship other than that of his abrasive brother. He had his favorites, and even Dirroden could no longer deny him, not completely, although there was no denying mortality.
Aeons passed ….
* * *
Water, warm and burning, bore down on her, restricting her movement, cutting off her access to life-sustaining air. Her lungs burned as she struggled, arms and legs flailing more and more, her short hair swimming about her pretty face as her lips turned more blue than pink.
She had requested trial by ordeal to disprove the allegations against her. It seemed the best option after other attempts to label her a witch had failed, and her accusers were allowed to persist in their persecution. She was a good swimmer. She had swum the Great River many times over her life. What had gone wrong?
She could hear the raised voices of those on the banks, her accusers roaring that divine judgment had prevailed, while others wailed in anguish. Her muscles burned, but not as much as her lungs. She made one final thrust toward the surface and felt her face break through to open air. She opened her mouth to take a breath of air — and water poured in, down her throat and into her lungs, searing its way like liquid fire.
She was not a witch. Why was she being punished? Then the answer came. Her sin was not witchcraft, but pride. She had thought that she could use the gods to her own ends. It was no wonder that she was being punished for it, sinking down deeper and deeper, the water muting the sunlight.
Her eyelids closed before she reached the chalky bottom.
A single, small bubble rose from one nostril.
Death.
* * *
“Why do you never tire, brother?” Dirroden asked.
Coriageddon looked up from the waves of his bathing pool. The drowned woman’s form faded from its ripples, and he smiled faintly. “I could ask the same of you.” He slid under the warm water up to his chin, the pool cut right into the stone floor, now smooth, at the request of one of his past companions. Her name was Zahra, an Egyptian, and her remains were over to his right, with dozens of others that had been his favorites.
He sighed and slid under the surface, inhaling and exhaling, trying to imagine what it felt like to drown. He could not. He could not imagine the burning in the lungs, the inability to breathe, the panic. He simply could not. He sat up and exhaled two streams of water from his nostrils.
Dirroden waited patiently for him to finish, then said, “They think me evil, brother.”
“Yes, the mortals,” Coriageddon answered, more water running over his bottom lip. “The animals do not. Most of them do not see your coming. They do not anticipate your bite. Do not know it cannot be avoided.”
“But the mortals know,” Dirroden stated bluntly. “They give me yet another name.”
Coriageddon raised his eyebrows interestedly. “A new name?” he repeated quizzically. “I am beginning to think that the more significant a thing, the more names the mortals invent for it.” He hesitated, then said, “Osiris was a good name. Of course, I must admit a penchant for the Egyptians. Zahra was my first mortal companion, after all. I rather liked the name Thanatos, as well. It rolls off the tongue.” He paused, then said it slowly, as if tasting the syllables. “Thanatos. I like that one. Although the tales they told of Thanatos were unflattering. The tales of Hades were much more impressive.”
Snap!
Coriageddon looked sharply at Dirroden, who asked, “May I continue?”
“Of course. What is the new name, brother?”
“It comes from the word ‘evil’ itself,” Dirroden stated expansively, an odd grin curving his lips. “Some are starting to call me Devil.”
Coriageddon smiled and nodded. “How nice,” he said. “Those same people have given me a new name, as well. A name derived from ‘good.’ They call me God.”
“Do you accept this?” Dirroden asked.
Coriageddon smiled as he considered it, then nodded. “Certainly.”
Dirroden frowned, pushing one of a score of mortal skulls nearer the cave wall with a negligent flick of his foot. “Of course, you do,” he muttered darkly.
“My acceptance makes no difference, brother,” Coriageddon said mindfully.
“But does theirs?” Dirroden asked, his voice scarcely more than a whisper, then he straightened and boomed. “They are mine, also, brother! Of your mind, but of my body!”
Coriageddon’s head pulled back slightly in surprise at the rare outburst, then he climbed out of the water. “Your duty is to take of your body,” he agreed. “To feel each and every death.”
“It would be easier to destroy them all,” Dirroden whispered. “But I do not. I control that impulse.”
“Of course, you do.”
“And for that, they think me evil,” he growled, white irises directed at the stone floor.
“And I give of my mind, my … heart. And think that a showing of goodness.”
“God, Devil,” Dirroden muttered sourly.
“Good, evil,” Coriageddon countered, a playful twinkle in his green, pupil-less eyes.
“Life, death,” Dirroden responded, finding his own smile in return.
“Do you weary?” Coriageddon challenged quickly, finding the familiar cadence.
“No!” Dirroden snapped, clapping his bony hands, then he started to hum a gentle melody until Coriageddon joined in. Dirroden started to sing in Ancient Greek:
While you live, shine,
By no means at all, thou grieve!
For little exists, the living;
The end, the time requirest.
“Lovely,” Coriageddon said, smiling.
“The mortals are the only ones who know of me,” Dirroden said, his rare grin still solidly in place. “They even expect me.” He raised his thumb, that bothersome nail extended past its tip almost as far as the last joint. “I should not disappoint them.”
“You should not!” his brother agreed, waving his encouragement with both hands.
Snap!
Another chip of nail tumbled to the floo
W. D. Kilpack III © 2024
STALKERS
The cat purred and trilled, squirming in his hard arms. He scratched the underside of her soft-furred, black chin while he waited patiently. Her paws pushed and relaxed, claws extended and drew back as she purred, elated to be resting in the cradle of his arms. She stood and thumped her head against the underside of his chin, rubbed it against his thin shadow of whiskers, then continued to his ear and beyond. She crawled agilely onto his shoulder and flopped down with her legs on either side of his thick neck. Once she settled, Kittridge finger-combed the sideburn she had ruffled, returning the whiskers and scattered grays to their proper place. When satisfied, he rested his hands on both of the chair’s arms. “Comfortable, Kitty?” he asked. “A new client comes in today.” She mewed softly. He reached up to scratch her pitch-black coat for long moments, his dark eyes unfocused. His black t-shirt was at odds with the opulent surroundings, leather and rich cherry wood decor. He sat with legs crossed, black slacks pulling at the knees. Despite being his office, he did not have a desk. If tasks required a desk, he had someone to perform them for him, and she was quite adept at it.
A buzzer sounded at the great, cherry-wood door, and Kitty tensed, freezing into place. “Easy,” he said soothingly, rubbing one of her front paws between his thumb and first finger. She pulled it free, he grasped it again, she pulled it free. He continued the game for another four cycles, then looked toward the door. “Is that long enough, Kitty? Can’t seem too eager. We already sent a hovercraft down to pick him up, after all. That already smells a bit of desperation.” She resumed purring and he called, “Come!”
The door withdrew into a wall pocket without a sound, and the receptionist, Miss Dennis, stood framed in it like a fine work of art. She was in her thirties, near his own age, but looked younger. It seemed that the life of a receptionist was much less harsh on the body than his own. She was quite pretty, with waist-length, straight hair and large, dark eyes. Her long-sleeved, red sweater clung to her every curve. She clasped her hands behind her back and stood with feet together, black boots showing below the hem of her black skirt. As per her training, she did not speak first. The new client stood behind her, almost completely eclipsed by her silhouette. That meant that he was a small man, indeed.
Kittridge waited another moment, watching for any response from the client. When none came, he said, “Miss Dennis.”
“Mister Kittridge,” she responded, chancing a thin grin that vanished as quickly as it came, clearly enjoying the game, even after all these years. “Calvin Cutler,” she stated simply and turned sideways in the doorway to reveal the new client, like a curtain being drawn aside. He was, indeed, slight in stature, but carried himself with more than enough pride for a man twice his size. He wore a three-piece suit that must have cost him several grand, although his neck tie was loosened slightly, indicating either nervousness or a recent weight gain. The slight dimpling of acne scars marked him as two things: new money and going through puberty with the limitations of living on terra firma.
“Very good, Miss Dennis,” Kittridge said softly, still clutching gently at the cat’s paw with his thumb and index finger. “You may go.” The woman bowed her head and shot him a knowing smile as she left. The stranger took two steps into the room and the door closed automatically. Kitty trilled like a pigeon.
Kittridge studied his new client with solemn, dark eyes. “I am Devon Kittridge, good sir. How may I be of service?” The cat shifted and he lifted one hand to scratch behind her ear.
“Mister Kittridge, I work for the York firm, Arclite Aeronautics.”
“Straight to the point,” Kittridge said. “I like that.”
Cutler hesitated, then resumed his narrative, apparently not appreciating having his carefully rehearsed monologue interrupted. “I hold an executive position, but advancement has come to a near-standstill.” He spread his hands and smiled, the sentiment coming nowhere near reaching his eyes. “I have responsibilities to uphold.” The cat sat up and studied Cutler. The client froze, staring back.
“Please continue, Mister Cutler.”
The client’s smile became more genuine. “The cat’s got a thousand-yard stare. Not sure I’ve ever seen an ice-blue quite like that.”
“Do you like cats?”
“I do.”
“What do you like about them?”
Cutler answered quickly, “They’re self-sufficient.”
“Ah. So your ‘responsibilities’ have nothing to do with family,” Kittridge concluded, and Cutler’s smile vanished.
“Is that a requirement?”
“Of course not,” Kittridge answered. “So I surmise that you want your superior eliminated … in order to uphold your responsibilities.”
“Yes.”
“I see.” Kittridge rubbed his chin, then smoothed the graying whiskers in his sideburns, his eyes losing focus.
“Looking for discrepancies?” Cutler challenged. Kittridge’s cold, dark eyes returned to the client, but that was all. “I already submitted the required information. You’re making me recite it, chapter and verse.”
“I never read about a job or the client before meeting him the first time,” Kittridge answered. “I found that it can cloud my judgement. I prefer to meet clients with a clean slate.”
“I find that knowing all I can about the opposition only makes me better equipped to negotiate.”
“I am not the opposition, nor is this a negotiation,” Kittridge responded curtly. “You went through a great deal of effort to find me. Even more to pass a very rigorous screening process. Your identity, background, financial status, and even your credit scores have been triple-checked. If you were not who and what you claimed, you would not have been able to pass through the front door, let alone find it.”
Cutler’s confidence wilted slightly and he looked around the lush office, the three walls covered in bookshelves and hardbound books. “Yours is the only chair,” he observed.
“You won’t be here long enough to require rest,” Kittridge answered, smiling thinly, then his voice resumed its business-like tone. “You are aware of the rates I charge?”
Cutler opened his mouth to respond, then clasped his hands behind his back and spread his feet slightly further apart. Despite the fancy suit, his military background practically screamed as he assumed parade rest. Cutler smiled thinly, the first truly genuine facial expression yet. “Of course, sir,” he answered, confirming his military history with the reflexive “sir.” Kittridge understood that all-too-well, requiring years for him to break that same habit. “I am prepared,” Cutler said. “Your accounts are already being augmented.” Cutler took several steps toward Kittridge and the cat rose to her feet and hissed sharply. Kittridge raised a hand, although Cutler had already frozen into place midstep.
“Kitty has trust issues,” Kittridge said. “In any case, I don’t shake hands, if that was your intent. I don’t risk that you might be carrying something nasty.”
Cuter backed off, and said, “The firm screens all employees regularly.”
“Before you leave, Miss Dennis will handle finalizing the contract.” Kittridge rubbed the underside of the cat’s neck, and watched as the man’s confused expression shifted toward anger,
then cooled to hate, a vein swelling in his temple. “You may go, sir,” Devon said, smiling. The impulse to say “dismissed” was almost irresistible, but he managed it. Of course, when Cutler did not move, Kittridge felt a stab of annoyance but, when he spoke, his voice was cold. “Miss Dennis is more than capable to handle you, Mister Cutler. You may go.”
“Very well,” Cutler growled and left the room in a flourish of cologne-tainted breeze. The door closed automatically and Kittridge continued to scratch at the cat’s chin, smiling thinly. The self-importance of the super wealthy never failed to amaze him. Granted, Cutler was very likely self-made, clawing his way up from the depth of ground-anchored social class — which deserved respect — but feeling entitled after that fight soured the admiration’s vintage.
Kittridge lifted the cat from his shoulders and sat her on the chair’s arm against him. She trilled softly and immediately climbed into the center of his lap. He stroked her neck absently. “What do you think of our client, cat?” he asked. She fell on her side and snuggled into the niche between his crossed legs. “He certainly had his pride,” he continued. “Not terribly stable, though: angry, afraid, perhaps a touch mad.” He rubbed between the cat’s eyes with his thumb. Kitty rested her chin on his thigh and closed her eyes. Moments passed, then the door opened without the announcing tone. Miss Dennis entered and smiled warmly.
“Everything is in order,” she said. “Funds received.”
“Anything I should know?”
“He complimented my boots.”
Kittridge’s brows shot up. “Really? How often did he glance at your ample bosom?”
“Not once.”
“Interesting,” he breathed. “How did I miss that about him?”
She moved her shoulders slightly, almost a shrug. “Job’s here in York,” she stated worriedly.
“The fee was adjusted accordingly?”
“Of course.”
“You are as lovely as you are clever.”
“I’d kiss you, but I don’t want that jealous bitch to snag my sweater.”
As if in confirmation, Kitty lifted her head and hissed.
“York,” Kittridge said, as if tasting something slightly unpleasant. “A difficult place to operate.”
“Too many lights,” she agreed.
“And too many motion-activated systems.”
Miss Dennis added, “Whatever happened to the days of working on terra firma?”
The cat sat up and meowed. “You’re right, Kitty,” he said. “Why am I sitting on my ass? What are we waiting for?” He picked her up with both hands and sat her on the floor. Miss Dennis leaned in to kiss him lightly on the lips, and Kitty leapt back onto his lap to hiss and swat at her. Miss Dennis immediately flipped her ear, making the cat flatten them even more.
“He’s mine, too!” Miss Dennis declared firmly. “And you’re my cat!”
“She does get possessive,” Kittridge agreed.
Miss Dennis smiled warmly. “Please be careful.” “Job seems easy enough.”
“They all do,” she responded.
“And none of them are.” Kittridge stood, sending Kitty leaping off his lap again.
ttridge stepped one foot off of his hoverbike onto the rim of the floating island that held York far above the decadent wasteland that had once been New York City. He looked down at the tops of decrepit, crumbling buildings, rising from sea water like islands in and of themselves. When the glaciers melted, sea level rose roughly two hundred thirty feet, submerging even the Statue of Liberty below the surface. In some places, entire states were lost, like Florida. Of course, that the ocean was still a drab brown near the shore, before it faded to greenish, then blue, was a mystery unto itself. With York hovering a mile above the new sea level, he could see it all He had to admit that the shift in colors was rather beautiful. If only it did not butt up against the eyesore of what remained of New York City. The saving grace was that the sun had already set and the sky was growing steadily darker, although the hundred or so hover craft and hoverbikes sailing around York in all directions had not even turned on their headlights yet.
Since the hoverbike had stopped, Kitty poked her head out of the compartment where cycles once held liquid fuel. Being battery-powered, the “fuel” now sat between the biker’s thighs. The only time that was a problem was on longer trips, where the solar panels had to kick in to keep the battery charged. It tended to get a bit warm in a part of the body where there was a dense concentration of nerve endings. Kittridge reached into the compartment and lifted out Kitty with one hand to hug her against his chest. “Soon, we’ll have to talk to Mayor Farrell about this, Kitty. It’s long past time to sweep away that awful mess down there.”
He bent low to set the cat down on the platform, still straddling the gap between his bike and the sky island boasting the world’s largest city. While bent down, he detached a silver disc from behind the foot rest and dropped it into the edge of the platform, a length of spider-thread cable attached to its center. It caught and held firmly, forming a magnetic seal, then the cable shortened, being drawn into the hoverbike’s chassis until it rested right up against the platform. The spider thread was literally thin enough to floss his teeth, although he would not recommend it. He had done it once, on a dare and under the influence, then had to get some dental work to repair the damage to his gums.
He swung out of the saddle and a gust of wind hit him, nearly pushing him backward a step, forcing him to lope lightly away from the edge. His weight gone, the hoverbike bobbed slightly. He walked the five yards to the edge of the opaque, gray dome enclosing York. It rose a thousand feet overhead and extended five miles to the West. The cat rubbed against his legs and he plucked her up to sit her on his shoulder like a pirate’s parrot. Her claws dug into his t-shirt, a sensation that had evolved into a sense of comfort in situations like this. Devon took the final step for light to flash briefly against his calf as he triggered the electric eye. A smooth, deep voice, very deliberately masculine and authoritarian, said, “Name and code.”
“Kittridge, Nathaniel,” he lied. “M58734-Alpha-1.” Another gust of wind rocked him lightly and the cat growled softly, no doubt warning him that dislodging her from her perch would be unwise. Of course, it was taking longer than usual to be permitted entry. “Don’t disdain a blessing in disguise, Kitty. This means that lots of people are going in and out tonight. That’s good cover.” Finally, the computer waded through its backlog of security checks.
“Very well, Kittridge, Nathaniel,” the deep voice came. “Proceed.” A door hissed open a few feet to one side and he left the cool wind to enter the moist, warm air of the city within. In the same moment, he left the noise of incessant wind, trading it for the chaos of twenty different styles of music playing within his earshot, voices in as many languages, and other sounds of civilization. According to the docustreams, the interior of York was similar in many ways to big cities on terra firma, particularly the biggest cities in Japan. Of course, with most of their nation gone, it made sense that they would do their best to recreate it up here. The black cat dropped off his shoulder, padded ahead, and the door swished shut again. Kittridge watched the cat for a moment, city lights flashing beautifully off her glossy, well-groomed coat, wondering what the transition was like for a creature with hearing so much more sensitive than his own. When a dozen yards away, Kitty stopped and looked back at him, as if asking, “Coming?”
Kittridge smiled thinly and followed. Most people understood that they were recorded when they passed through entry points. They had to use their names and codes, which logged their movements. What most people did not realize was that they were also scanned from head to toe, recording physical dimensions, gender, hair and eye color, and the composition of their clothing. Soon, he reached the end of the alley created between two buildings built right up to follow the arch of the outer dome. On either side were open doorways with the slight scent of urine emanating from within. Kittridge entered and marched past a man who did not wait long enough to dry his hands after washing them, then a woman emerged from a stall, most of her face concealed behind a filtered mask. He actually liked it when women wore masks: it allowed him to focus on the beauty of their eyes.
Kittridge reached the last stall and entered. Immediately, he pulled off his t-shirt and turned it inside-out, then held it in one hand as he dug a small spray bottle out of his pocket. He pumped the top with his index finger, spraying the outside of the fabric with a fine mist. He sprayed the front, then the back, then replaced the bottle in his pocket and pulled his shirt back on. Immediately, he could feel the nanobots he had deployed doing their work, altering the fabric at the molecular level, changing it from cotton to a synthetic fabric. At the same time, it tightened, forming itself to his frame, leaving nothing loose enough to catch or snag on outcroppings, let alone catch at his fingers. That done, he took a plastic cup out of his sock and put it down the front of his slacks, shifting and adjusting it for comfort. Last, he sprayed his slacks, performing the same transformation as he had his shirt. If he was scanned again, his clothing would be made of different fabric, and his gender would be obscured. Some might claim that he was being paranoid, but that did not mean that no one wanted to kill him. In fact, a great many people would very much enjoy emptying his crematory urn into a backed-up toilet, then giving it another filthy flush.
The mark was in a sleek apartment complex near the center of York. It was not a long trip getting there via the public transport trolleys racing practically everywhere anytime, day or night. Of course, he would not be using such transportation. Security scanners were in every trolley doorway. Worse, with Kitty in tow, too many took notice, some even asking if she was real. The question was one thing, but trying to pet her was another. Too often, she reacted defensively,typically drawing blood. Both elements drew more attention than even a standard trolley scan. So Kittridge would avoid both by making the trek through the area with the least of both.
Kittridge emerged from the lavatory and picked up Kitty with one hand, pulled open a belly pouch, and slipped her inside. She managed to turn two circles when pressed up against him, which never ceased to amaze, then poked her head out. He dug a pair of black discs out of his pocket and pressed his thumbs against the center of both, deactivating the electromagnets, which allowed the discs to separate. He pulled spider thread from each of them, hooking the loose ends to the outside of his hips and, more importantly, the heavily reinforced beltworx.
The darkest point in the alley was a recessed, vertical half-pipe where several varieties of pipes and conduits were mounted, containing fiber-optic cables and other such materials that kept that area of York functional. The half-pipe was not much wider than a man’s shoulders, designed to help maintenance techs ascend and descend their length as needed. Kittridge had discovered another very special use for them quite some time ago. He crossed to the half-pipe and bent sideways, arm extended, then bolted straight, throwing the black discs as far as he could. They struck the back of the half-pipe with a soft tap-tap, then the spider thread started to retract, pulling him upward. Kittridge rested his toes against the sides of the half-pipe, his fingertips against its back before him. Soon, he was twenty or so feet off the ground, where he detached one of the discs and threw it again. As soon as it locked down, the second detached and rose above him steadily. At the last moment, the cable jerked sharply, sending it upward the same distance as the first. Kittridge rose another twenty-odd feet and he repeated the process, ascending the half-pipe quickly. In a matter of moments, he was at the top, ten stories above the ground, where he detached the discs from the half-pipe, the hooks from his belt, and replaced it all in his pocket. That done, he dug into the pouch around Kitty’s warm body, then drew out a black rectangle of fabric. He worked it loose into a sheer balaclava and a pair of gloves. He pulled them all on, then waited a few heartbeats for his body heat to activate the process that would contract the fabric to fit him snugly. He crossed to the edge of the building and walked along it, looking down. Quickly, he located the feed conduit from this building to the next. It was the width of his palm and mostly flat, mounted to the building at regulation twelve inches below the top. Kittridge stepped down onto it, bending his other leg to the point of discomfort, his hand on the roof, then turned and faced the far building, a regulation eighteen of his steps away. He marched across the open space almost casually, only extending his hands once to reassert his balance, which triggered another annoyed growl from Kitty.
He repeated this time and again, moving from one building to the next, ascending through maintenance half-pipes, crossing, ascending again, crossing again. At long last, he reached the mark’s living complex, one of four of the tallest buildings in York. Whereas most of the buildings were sleek and smooth, these four were multi-faceted, with decorative ledges at seemingly random locations. In the end, he thought it made the buildings look like incredibly large pipe cleaners. Then again, it also made them vulnerable in ways that others were not. It was for this purpose that he brought Kitty. As a rule, Kittridge worked alone. The exception was in York. He dropped the feline onto the ground and she looked up at the side of the building.
“Go,” he said, looking up, as well. The cat meowed, as if to warn him that he had better follow closely, then carefully picked her way onto the first ledge. As usual, he could not help but be in awe of the cat’s dexterity and truly complete lack of fear. As Kitty quickly moved from ledge to ledge, sometimes stretching her frame to reach the next, sometimes leaping across gaps too far for her to reach, he could not help buy envy her sleek grace. Finally, she had moved far enough ahead that he followed, his own motions silent and cat-like as he kept pace, often needing only one movement to match four of hers. Steadily, the pair circled around the corner to another face of the building. Kittridge caught a ledge with both hands and pulled himself up to rest a knee on it, then worked up to both feet. In that time, she had already crossed five more ledges. He matched her fluidity with precise, sharp motions.
Kittridge reached the destination, where he stopped and looked around. “No cameras seeing shadows,” he muttered under his breath, and looked down a hundred-fifty-story drop, then up at another hundred stories rising above. He lowered onto one knee and Kitty leapt down from a higher ledge. He lifted her with one hand and slid her back into his belly pouch while, at the same time, he twisted a small, plastic compartment from the inside of his belt to the outside. He pressed his index finger on one end, then tapped out a memorized cadence, and it clicked softly. He pushed his finger inside, pushing a small drawer out the other side. Resting inside was a small, black cube with two tiny lights on its front, no larger than a die at the craps table. He pressed the front of the cube against the right side of the window at eye level, waited for the faintest glow to show on the inside ledge, then moved it steadily, following the side down to the bottom, across to the left side, up along it, then across to complete the square. Immediately, the thick glass came free, falling inward, but his free hand moved quickly, catching its top edge. Warm air flooded down over him and Kitty growled softly. Very slowly, he rotated the piece of glass around, the cube adhering to one corner, until it rested on the floor. Kittridge twisted the cube and it detached. He bent to step in through the window and move quickly aside, to avoid remaining silhouetted. Every sense straining, he replaced the cube in his belt compartment and slid it closed. All the while, Kitty’s tail lashed anxiously inside the pouch, pressing against his belly and sliding across it, only to repeat the process. Slowly, he pushed Kitty’s head down into the pouch, then pressed it closed until it sealed. Her tail persisted in its angry dance.
He had intended to make the mark’s death appear to be from natural causes. There was a particular blend of biomech that he administered through a mist, much like how he treated his shirt and pants, which disrupted the body’s autonomic nervous system, resulting in an almost instantaneous shutdown of the body’s involuntary physiologic processes. Of course, if Kitty’s response was anything to judge by, that plan was not going to be carried out. He reached behind his head to a plastic harness that ran along his spine, grasped the grip of a slender pistol and twisted it slowly, withdrawing the weapon and bringing it down in front of him to grip it in both hands. The pistol was light, slim and stream-lined, measuring less than four inches high and long, so the muzzle extended only a finger width past his knuckle. It was not the prettiest weapon, by any means, looking almost like its polymer frame was pressed in a waffle iron, but it was nine millimeter and held four rounds. It was more than sufficient in a pinch, which is where he was. Kittridge closed his eyes and reached out with his other senses, straining to hear even the slightest whisper of breath, and his nostrils flared … and caught a whiff of cologne. It was faint, but he still recognized it. He had scented it earlier that very day. The cat’s tail lashed inside the pouch and he rested a palm on her side until she stopped, then resumed his two-handed grip.
Soundlessly, Kittridge crossed the room, pressed his back against the wall beside an open doorway, leaned in to peek through, then back again, just as quickly. He inhaled deeply, filling his sinuses with the scent. What was happening? It was not the first time that Kittridge had been set up. Being in such a violent business, it was, for lack of a better word, part of the business. People do not like it when their friends, family, and coworkers get dead. With all Kittridge’s years of experience, his marks tended to have very powerful friends who could buy their way into or out of nearly every situation. So why would Cutler go to such extreme measures to set Kittridge up, only to bungle the job by not showering off his cologne? Cutler might have been a lot of things, but he did not impress Kittridge as stupid.
Kittridge slid soundlessly around the door jam and froze, waiting for his eyes to adjust to the deeper dim. It was not helping much. That could mean several things: every window was covered with blackout shades; the power was out in the apartment … or both. Kittridge had always prided himself on his natural night vision. He could see better in the dark than most, but this was definitely outside the norm. The glow of a lit clock display was often enough for him to see vague shapes, but there were nothing to see. No glowing numbers from clocks, no LEDs marking light switches … nothing. So the power was cut, deliberately or otherwise.
Keeping the weapon ready in one hand, Kittridge pressed his fingers through the seal in the top of the belly pouch and took out the cat. Cautiously, he lowered into a half-crouch and tossed her back into the room he had just left. Straightening again, he reached inside the pouch and immediately found his goggles. They were small, with oval lenses and could be clipped quickly onto the bridge of the nose. He did just that, then tapped the lenses. Immediately, the room lit with shades of green night-vision — in time to see his attacker coming at him with a black rod in hand. Kittridge had no time to react as the rod struck the weapon, knocking it out of his suddenly numb fingertips, but it bought him some time. He caught the rod in one hand, but his attacker was smart enough to release it and come back with his elbow, striking Kittridge in the center of the forehead as he tried to duck the blow. It snapped his head back so sharply that everything went black, night-vision goggles or no, and Kittridge dropped to one knee. Gratefully, the goggles were still on his face and, at that level, he spotted a target that would fit the situation nicely. He grabbed the attacker’s testicles in one hand, yanked and twisted. The man roared in pain and leapt away. Kittridge followed immediately but was still slightly dazed. When he swung the rod, he missed, and the unspent energy of the attack twisted his hips and shoulders too far. Immediately, the other man’s knee or shin struck his right side, on the back of his ribs. He was unsure if he had ever been kicked that hard before. Pain exploded through his ribs on that side, at least one of them likely broken. Worse, however, was that he was unable to catch his breath.
Kittridge retreated, trying to get his lungs to inflate, but the attacker did not give him a moment’s respite. He kicked again, but Kittridge crossed his wrists and blocked it at shoulder level. That it struck so high — aside from his brief glimpses of the man — indicated that his attacker was bigger than Cutler. In that moment of contact, he clamped both hands down on the attacker’s ankle and shoved it overhead, slamming the man into the wall, then rested it on his shoulder to free one hand for two solid punches to the man’s groin. Again, he roared in pain and, with Kittridge pushing so hard into him, lifted his other leg and gave Kittridge a taste of his own medicine. If it was hard to breathe after the rib injury, it was nearly mpossible after the man kicked him in the groin so hard that he thought he might vomit. Kittridge staggered backward and barely pulled his head back in time to avoid a punch, but it clipped the edge of his goggles, sending them flying. He heard them clatter across the floor, but he could hear the man’s breathing. He punched with all that he was worth, but struck the wall and felt the board break apart, then again, as his fist passed through into the next room. When he tried to yank it loose, his forearm would not come free. Kittridge had been punched enough times that he recognize the feel of a man’s knuckles striking the side of his face, snapping his chin sharply to the left. He immediately tasted the coppery tang of blood — then he heard the yowl of a cat in a fury, followed immediately by the man’s cry of alarm. Kittridge rested his free hand on the wall and yanked the other free, then felt something under his left foot. He dropped to one knee and scrabbled at it, recognizing the feel of his dropped weapon. Kittridge snatched it up and fired at the sound of the man’s cries of pain, unloading the magazine. Each flash of muzzle flare allowed him a split-second of light to adjust the aim on his next shot, then nothing. There was an instant of silence that felt far longer, then the heavy thump of the man hitting the floor. Kittridge dropped to hands and knees and struggled to take a deep breath. He wanted to call out to the cat, but he could not breathe, which meant that he could not speak. He worried that he might pass out, which might lead to him being apprehended for murder. For one thing, his pistol was small, which meant that it had no silencer. He closed his eyes and willed his muscles to relax … and took a shallow breath. At the same time, he felt the silky brush of the tip of Kitty’s tail across his eyelids. A moment later, he heard her purring. Kittridge sat up and lifted his palm, then whispered, “Time.” The muted glow of four numerals showed through his skin and, in turn, the glove. It was a pale shade somewhere between pink and orange: 2-2-1-4. In a strained whisper, he said, “Timer. Five minutes.” A dot appeared beside the last digit and Kittridge double-pumped his fist, extinguishing the display. He twisted out the case inside his belt, but pressed out the small drawer the other direction. Inside was a short cylinder. He took it out and pressed the back end, igniting a red light. He shined it on the body of his attacker, lying spread eagle on the floor. Kitty strolled casually over to sniff silently at the body. Kittridge croaked as he got back to his feet and approached cautiously, looking over the rest of the room with the light. With no power, there were no cameras or other security tech. He swung the circle of red light back to the body. The face was uncovered, other than night-vision goggles similar to his own, but these were strapped on. He gripped the light-stick in both hands, twisted it, then bent it in half. He directed the light at the body and squeezed, snapping a picture, then straightened it back into a short stick. Kittridge scanned the room a second time. He still had to struggle to breathe and had undoubtedly contaminated the scene with his own DNA, but that could not be helped.
Kittridge bent over the top of the corpse and inhaled, verifying that the man was, indeed, wearing Cutler’s cologne. Once again, it made no sense. This man had clearly been a professional. Why risk a mission by giving off such a distinct odor? Then again, maybe it had not been a mistake at all. Kittridge rose and trotted across the apartment, sweeping it quickly with the red light as he breathed laboriously. He peeked quickly into one doorway: office. The next was a half-bath. The next was the bedroom and, laid out on the bed, face-down and nude, was a dead man. A spiked, leather collar attached to a leash encircled his neck, but he did not seem to have enjoyed the experience. “Shit,” Kittridge hissed, then crossed to the lifeless body to shine the light on the corpse’s face: its eyes were open and scattered with red spots; the tissue immediately surrounding the collar was inflamed with enough swelling that it was almost flush with the top of the leather strap. Nonetheless, it was clearly the mark Kittridge had been hired to dispatch. Kitty loped lightly onto the bed and sniffed at the dead man. “Meet our target,” he said.
Kitty continued to sniff curiously, until her head jerked up sharply as a palm-sized piece of glass on the night stand vibrated. Kittridge crossed to it, fully transparent from this angle, then quickly flipped it over with the tip of his little finger. A screen stood open on the other side, showing a photo of Cutler and the mark at a table in a restaurant, each smiling happily. “Ah. So the cologne was not a mistake.” The image of Cutler on the glass vanished, returning the device to crystalline transparency. Kittridge once again gripped the light-stick in both hands, twisted it, bent it in half, and took a picture of the mark. As he straightened the camera back into a short stick, he turned and trotted silently out of the bedroom and back to the room where he had entered. He did not recognize the other assassin, but that was no surprise. A stab of paranoia gave him pause. Had the second killer been intended for Kittridge after he finished the mark? He shook off the thought as soon as it came. For whatever reason, Cutler had double-booked the hit. There was little other explanation.
Kittridge bent and picked up Kitty with one hand, groaning as he bent over, then slid her back into the belly pouch. He took a deep breath and gasped as pain shot through his frame, starting in the right side of his back and radiating out to the top of his head and his other extremities. Hurting that badly, it was likely a rib separation rather than a fracture. He reached around to feel at his back and, thick as his thumb, felt the rib that was bulging out of place. Kittridge took another deep breath and thumped his back sharply against the wall, knocking it back into place. He let out a long, relieved breath, then bent to slide out the window. A single tone sounded, just loud enough for him to hear, as the five-minute timer elapsed. Kittridge double-pumped his fist and looked down at the first of three police transports to come to a stop outside the building. He moved quickly, retracing his steps along the outside of the building and down to the next landing, as silent and precise as a cat.
W. D. Kilpack III © 2024