“When’s the next return connection, please? And where do I catch it?”
“What connection you talking about? You got ID?” The guard is surly, he
picks at a scab at the corner of his mouth, and then presses a red button above
his intercom.
This is all happening too quickly. Lucas can only speed into a convoluted
improvisation about a lost student railcard,. As the fabulation becomes
increasingly riddled with internal contradictions, Lucas can hear his voice rising
to a fractious squawk.
Now he’s a public spectacle. The guard has been joined by two colleagues,
and there’s also a random gathering of people from the concourse, a man carrying
a huge china dog, an elderly Asian in flared trousers, someone with a
combination-lock briefcase chained to his wrist.
They’re all staring. Their throats start moving in unison, out of his control,
they’re inhaling nasally, to produce a thick hawking laughter. Through their
din, Lucas can hear fragments of a security conference:
“. . . sure this is the geezer ID Division is after?”
“They want him to have special ID treatment, for crissakes . . .”
“They’re not really Operational yet. He might be some random nut who’s
wandered in from the rain.”
“If he is just a random, Transit will want some action, you bet.”
Lucas now knows what has to be done. Crude physical action can refute any
illusion, even a bad dreamscape. Material conditions determine consciousness.
That’s what Mummy said. So just hit out.
He punches the iron pillar nearest him, bruising his hands on the protruding
bolts. Nothing collapses. So this Terminal of Babylon is going to be a stubborn
bugger?
On a rush of adrenalin he pushes aside the guards and staggers into their
booth, tugging at the intercom, to tear out its reality by the roots. It comes away in
a clutch of wires. His ankle collapses and he falls back through the cubicle doorway,
but the momentum won’t stop, his fists swing into their grinning faces.
“I can’t wake . . .” he shouts between gasps. “I can’t wake up!” Now they are
rolling and tumbling in the rubble; he can smell one victim’s aftershave, and
blood trickles all over his hand, he’s broken a porcine nose, or a porcelain dog,
and lightbulbs are swinging—
More figures in peaked caps block the light—their gloves grip Lucas
around the neck and legs, bending him into balletic contortions, counter-
stretching every tendon in his body.
Manolis Aligizakis 