“I am, as you know, Henry Chattaway,” he replied. “But what you
He paused, and I prompted him: “Yes? And that…?” For this was the one thing I had most wanted to know but hadn’t dared ask him outright in case it gave me away. And:
“Well, why shouldn’t I tell you?” he said, as the first signs of the man-made cavern or excavation that was the main Piccadilly Circus Underground station gradually came into view up front. “For it’s too late now to do anything else but see it through: the last of my dreams come true on this long last night.”
And as we climbed up from the tracks onto the platform and I returned his small heavy suitcase to him, he continued: “Julian, I was the top man—or rather, not to make too much of it, one of them—on PFDP, the Plasma Fusion Drive Project. Similar in its way to the Manhattan Project, it was very hush-hush even though no one in the scientific community gave it a snowflake’s chance in hell, even as a theory. What? Abundant energy from next to nothing? You may recall that seventy years ago the same dream had given birth to the bombs that put an abrupt end to World War II. Not so much a dream as a nightmare, as it happened—at least until someone began speculating about the possible benefits: that maybe nuclear power could provide cheap energy for the entire world; which of course never really worked out. The fuel was dirty, dangerous, and had too many safety problems; the mutations and fatal diseases that followed on inevitably from the accidents and errors were hideous, while some of the infected radioactive regions remain hot even to this day.
“Well, history repeats, Julian. Plasma fusion was the next best hope for cheap energy, far better and cheaper and so much easier to produce… why, men might even go to the stars with it—if it worked! But it didn’t, or rather it did, except even the smallest, most cautious of tests warned of a Pandora’s Box effect. Only let it loose and it could initiate a chain reaction with anything it might touch and fuse with. That’s the only and best explanation I can give to a layman, especially in what little time we have left. But enough: we stopped working on it, and the world’s authorities—every single one of them, recognising the awesome power of this thing—signed up to a strictly monitored ban on any further experimentation… simply because they couldn’t afford not to!”
While Henry talked, his voice gradually falling to a whisper, we had proceeded from the tunnel to the platform, then to the relatively pristine stairs and elevators. The latter, of course, had not worked since the night of the invasion; but the stairs, completely free of rubble, had taken us to the surface, which upon a time had been a landmark, a renowned open-air concourse where many streets joined in that great circus it was named for. A far different sort of circus now.
“This place,” I said, letting my voice echo, “is looking rather empty. Not what one would expect, eh?”
“I know,” Henry agreed in a whisper, probably wondering why I wasn’t whispering too. “It’s been like this each time. You would think it should be crawling, right? Which in a way it is, if not as you might expect. Not crawling with alien life, no, but with the very meaning of the word ‘alien’ itself!”
Crawling, yes. And making one’s skin crawl, too. Even mine. It was the way it looked, its shapes and angles; its architectural features, if you could call them that; its non-Euclidean geometry.
It had four legs—or was it three? Maybe five?—all leaning inward, or was it outward? Something like the once dizzy and dizzying Eiffel Tower, but a twisted version, and what we had surfaced into was the base of one such leg that used to be Piccadilly Circus. The rest of the legs were green-misted and vague, half-obscured by distance, submarine-tinged Shoggoth light, and the intervening shapes of anomalous buttresses, columns and spiralling staircases. And adding to the confusion nothing stood still but appeared literally to crawl, each surface flowing and changing shape of its own accord.
As for the staircases: some had steps as broad as landings, others with steps like frozen ripples on a pond, but rising, of course, and a third type with no steps at all but smooth, corkscrew surfaces of some glassy substance, sometimes turning on clockwise threads and other times winding in reverse. And all of them stationary, at least until one looked at them.