machine.
I tapped into the net and began sifting-in an extremely passive manner-the history of Cylestra over the past few months. It was something I had avoided since leaving Australia, but with the arrival of this news it felt sufficiently safe to have a look. What I found was a series of events-communication leaks, misplaced orders, a downtick in sales-that made it clear that Cylestra was on a slow and steady decline toward a death of its own. Corps the size of Cylestra could not truly die; if it performed poorly for too long, it would be swallowed, in whole or in part, by another corp, but when that happened, Allora would be there. She would be absorbed as part of the merger, and she would hound the new corp until the biotech wing was deemed too inefficient to justify its continued existence. She would eventually, inevitably, exact her revenge.
After sitting back in my uncomfortable seat and savoring these realizations, I got up and left the bar.
It was time to get a real cup of kaf.
And then it was time to find a dog.
Fade Away
Steve Kenson's first published work for Shadowrun was an essay in the second edition of The Grimoire. This led to writing the adventure 'The Masquerade' in Harlequin's Back and working on over two dozen books, including Awakenings, Magic in the Shadows, and Portfolio of a Dragon. Steve has written seven Shadowrun novels, including Crossroads and the first Kellan Colt trilogy, beginning with Born to Run. He maintains a website at www.stevekenson.com and a LiveJournal at xomec.livejournal.com.
You move down the corridor confidently, not striding, because striding implies a sense of arrogance, not humble duty and responsibility. Still, it's a confidence born of power, of the certain knowledge you can handle anything that might come at you. You know-deep down-that you are up to the challenge, that you were born to be, made to be.
Although you are humble, this place is still beneath you. You step over loose piles of garbage in the hall with the barest sniff of disdain. The place reeks, the stench of human filth and misery is strong in your nostrils, almost threatening to choke you, but you push it aside. You flex your fingers inside their close-fitting, black leather gloves; feel the fine leather creak slightly, the steely strength in your tendons and muscles.
The background noise in the corridor is a mix of broadcast programs and sprawl music barely muffled by cheap, particleboard doors and sheetrock walls worn paper-thin. The noises coming from behind the door ahead and to your left are grunting, animalistic, matching the filth and desperation of this setting. They're tantalizing and disgusting at the same time. Is it distaste for them or for what needs to be done that wells up in your throat? Tasting the flat, metallic bile, you grab hold of it, turning disgust into anger into power.
[LOWER: EMO_TRACK]
Your booted foot blurs as it lashes at the door. You barely feel it as the jamb disintegrates from the strike, splinters of formerly glued wood-substitute flying. The flimsy chain on the inside tears off, still stubbornly holding onto the fragment of the frame it's firmly screwed into, as if to proclaim it is the weakness of the structure and not it that had led to this. Things seems to drop into slow motion, and a part of you watches the splinters and fragments fly, detached, fascinated.
The door flies open, banging against the inside wall, but rebounding only slightly. You're inside before it can do so, the world around you moving so slowly you can pick out every detail. You savor it: the shocked, startled looks spreading across the faces of the man and the woman locked together on the ratty sofa against the wall, the man simultaneously pushing back with his arms to rise while reaching for the crumpled mass of clothing strewn on the floor. Vivid tattoos crawl along his muscled chest and arms: blue-green dragon scales, golden carp, there, between his shoulder blades, a blooming lotus.
Then you have him by the throat, lifting him off the woman, pinning him against the wall next to the couch. Cheap paint and sheetrock chip and crumple where his head hits. He has enough air to grunt once in pain before your fingers close his windpipe and he starts to choke. As if your hand was around her throat as well, a scream arrives stillborn from the woman's mouth as little more than a hiccup or faint yelp. She starts to move, but there's a gun in your other hand, and you level it back in her direction without even looking. The sounds of her movement stop and there's only a faint whimpering.
The man you've pinned glares at you with dark eyes, slight epicanthic folds betraying a mixed heritage that strikes a momentary chord of familiarity, but elicits no mercy or slackening of your grip. You watch with a certain fascinated detachment as a full range of emotions play across his face in just a few seconds: surprise and shock give way to rage at your intrusion, a furious desire to strike out at you, then puzzlement at the inability to escape your grip. Hands claw at the leather sleeve of your coat, feeling more like caresses through the thick material. Confusion starts to give way to panic, a desperate need for escape, for air. The man's face starts to redden. There's a slight ache along the length of your arm, but you savor it, the burning in your muscles as your grip remains, unrelenting, tightening. You do not look away, still aware of the faint whimpering from the couch behind you-gun leveled there-but no other signs of movement. The man's feet bang against the wall, just centimeters off the floor. Someone bangs back from the neighboring apartment and you stifle a laugh: are they hoping to quiet the noise or do they think they're playing a game? They might think it is more foreplay, and not the main event.
The tapping dance of his feet slows, then stops, the clawing at your arm grows feeble, then his arms fall, limp and helpless. His eyes remain locked on yours, but then start to glaze and roll back in his head as the struggles give way to nothing more than deadweight pinned against the wall. You wait with a terrible patience, drawing out the silence that dares anyone to interrupt it. The only noise is the background babble of music and soundtracks from outside and a few last half-hearted thumps from the other side of the wall.
When you release your grip, it's almost a surprise, like a spring uncoiling. The body drops limply to the floor, like a wet sack sliding down the wall. You lower your other arm for the first time, bringing the sleek, flat-profile pistol down to your side, and turn away from the dead man-knowing his fate with a cold certainty-back towards the woman on the couch.
It's as if you notice her for the first time. She's young, and still fairly pretty for a whore, her neo-Egyptian style makeup giving bold, dark emphasis to her wide eyes and half-blood features, dark hair spilling loose and wild around her face. Again, a slight feeling of recognition stirs deep inside you, along with something else. She has managed to grab the soiled sheet covering the couch and pull it up to cover herself, although the half-hearted effort is largely forgotten in the spectacle that unfolded before her; one small breast peeks out around the edge of the fabric. The nipple is small, dark and still erect…
[PAUSE_PLAYBACK]
'Did you fuck her?'
'What?' Kage murmured, turning away from the dark rain-streaked window toward the figure lounging on the bed behind him.
'I said, 'did you fuck her?'' Tomashi replied with a sigh, punctuating his words like he was speaking to a child or an idiot. It was a tone Kage found irritatingly familiar.
'I…no…' he said quietly, eliciting an exaggerated huff of frustration from the other man, who slapped his hands down on the mattress for emphasis.
'It would have been better if you had fucked her,' he muttered to nobody in particular. 'That would have been hot. You could have taken her right there after you did him…'
'I didn't,' Kage repeated, somewhat uselessly, 'I…'
'Shut up,' Tomashi countered without any real heat. 'Don't spoil it. I still want to run the rest.' But as he settled back against the pillows of the bed, Kage's commlink buzzed softly. He answered, eyes remaining on Tomashi who glanced over in idle curiosity.
'Hai,' he replied to the clipped voice on the other end of the line. 'Hai.' Tomashi lifted himself up on his elbows, which emphasized his slight but growing paunch, the look on his face making it clear he knew who was calling. Kage disconnected the line.
'Your honorable father-' he began.
