Fire on the Tongue

Before the sun. Before the moon. Mammoth, she brings fire from the sky.

In the darkness the Three Lords dance.

Mammoth steps forward. The Three Lords meet her.

Darkness devours Mammoth and her bones.

Now the fire, it lives quite far away, alone and quiet in its palace in the stars. It cannot see the earth, nor yet be seen. Its floor and its basement conspire to occlude.

Dinosaur enters, stomp stomp stomp.

He seizes up the fire. He descends to earth.

Dinosaur brings the fire from the sky.

In the darkness the Three Lords dance. Dinosaur howls. Dinosaur fights.

Around Dinosaur the Three Lords close.

They are cold. They are dark. They are humanity’s Lords. They close around Dinosaur and they tear him up.

As they tear him up he tries to swallow the flame.

They rip his neck. Fire leaks out. Panicked, he holds it beneath his tongue.

His head—

The head of Dinosaur—

Burns for a while with a pumpkin flame. Then the Three Lords darken him and Dinosaur goes out.

Frog comes now to the palace in the stars.

She finds the lingering remnant of the flame. She takes it up. She descends to earth.

Frog, she brings the fire from the sky.

Now the Three Lords close on Frog. Now they close, but Frog fights back. She kicks with her feet. She shoves with her hands. For a moment they hold her, then she is free: under the waters, over the lands, swimming and leaping and running away.

Now the Third Lord seizes her leg.

Frog kicks free but he breaks her bone. It snaps in her leg. She is wounded now.

And as she runs and as she fights the fire that she carries gleams. The fire is glittering. It’s flashing and shining. It’s warring with the darkness that had been.

She is never more dangerous, Frog our Frog, than when she is desperate and full of fear.

If you have ever fought a frog—

Not a tiny frog, but one your size—

Then this is most likely a thing you know.

She is never more dangerous than when things look worst. The Third Lord grabs her once again. She twists like a beast and paws his throat and the Third Lord staggers and the Third Lord chokes.

He gags out bile onto the earth and Frog kicks his head and leaves him there.

She leaves him behind and she runs and runs.

The Second Lord, he looms ahead.

He’s at a crossroads. That’s where he’s strong. But Frog just shrugs and gives him a look. “I am Frog the Invincible,” is what she says.

The Second Lord, he makes no sound. He does not hear the challenge in her voice. He only raises a terrible dark that swallows Frog who brought down fire.

In that darkness the two now fight.

For a time it seems that Frog might win. Then the First Lord joins them at that place. Frog burns the First Lord with fire from her hand and Burns and Marring are born into the world. The First Lord howls and he staggers back. But the fight is hard and Frog cannot endure.

Disaster comes.

The Third Lord finds them.

He is not dead, though weaker now. He is not dead, but strong enough.

They take up places. They pin down Frog. They chill her struggles and they make her weak.

They hold her down but she will not die. She is Frog the Invincible. Frog the Immortal. They cannot kill her, though they rip her flesh. They cannot kill her, though they break her bones.

They cannot kill her, so they do not kill her.

They only force darkness into her, bit by bit, until it bleeds out from her skin.

And Frog cries out, “I am becoming shadow, but the fire was bright.”

Behind them and around them a moaning rises. Behind and around there is the shuffling of feet.

It is humanity.

Humanity is white like maggots—white like blindfish, for these are the days before the sun. Humanity is white like maggots and mute like zombies and cold like the living dead. But it has seen the glittering and gleaming of the fire and it has heard the struggling cries of Frog.

So it masses around the Three Lords and it begins to pull them down.


The Three Lords are terrible. Their touch corrodes. Their wrath is great. Even the littlest twitchings of their feet can cut a wake of destruction through the world.

But they cannot tend to the wading hunger of humanity while still they pin down Frog. They dare not turn and deal with what devours them—while still they pin down Frog.

Bit by bit they force their darkness into her. Bit by bit they inch towards their salvation, towards the moment when Frog is broken and they may turn attention to humanity behind.

It is taking them too long.

The Three Lords are dying.

The fire gutters. It goes out.

Frog’s feeble struggles grow feebler yet. Her eyes bulge out. Her skin is moist.

Humanity devours its Three Lords and it leaves behind no bones.

It clusters around the remaining warmth and the afterimage that was fire. It wails softly as that fades away.

Frog, broken, maddened, crawls off to the swamps. She leaves a trail of slime behind.

Then there is silence where she had been and humanity departs.

Now there is darkness on the world but in the darkness no one dances. Now humanity mourns for there is none to be its god.

So Chameleon comes to the palace in the stars.

Chameleon, he hunts for a lingering spark of fire. Chameleon finds one, in the corner of a drawer. It’s under a sock but it’s burning bright.

Chameleon, he takes that fire on his tongue.

It hurts him! It burns him! But he takes the fire and he carries it down on the tip of his long tongue.

Chameleon descends to earth.

Now there is a glittering and gleaming once again, and once again humanity draws near. It is hungry for the fire now.

It makes Chameleon its god.

And Chameleon says, “Lo! I have brought you fire, and I shall be your god. I shall lead you in light all the days of the world.”

Or so at least he meant to say. But his tongue has burnt and he cannot speak. He has become a muted god. And the pain of it lingers, and begins to drive him mad, so that everywhere he goes he tries to rub away the fire.

And the fire burns things, but it won’t come off.

The forests burn.

Deep fires in the oceans flare.

Flame sweeps across the open plains and humans claim some from the lingering ash.

And finally Chameleon retreats again to space, oh, burning yet, but in the soothing dark; and he goes not far, not too far anyway, for still in the madness of his mind the intention lingers to love humanity and serve it as its god.

There he is, if you look up—not so very far away.

You can’t see his body.

He’s Chameleon.

You can’t see his body. He looks just like the space.

You can’t see his body, but you can see the burning flame that hangs above us, warms us, lights us, at the tip of his great long tongue.

Starfish Men (I/II)

Martin stares at Jane.

“Why do you care about starfish men?” he says. “They’re gross.”

Jane holds up two fragments of Necessity and touches them, one against the edge of another. Some of the roughness matches. “I think this story’s got Meredith in it,” she says.

This is the story of the starfish men.

Once upon a time, in 1975, a young girl meets and marries a starfish man.

Her name is Clarissa.

Here is how they meet. Clarissa is a runaway. There is a shelter not too many blocks away from the starfish man’s house. She’s noticed that nobody ever goes in to the starfish man’s house and nobody ever comes out. She’s noticed that all the lights are off except that one witchlight burning in the upper window. So she’s figured that something’s happened to whomever lives there, probably something fatal, but maybe just something that needs help.

So she breaks in.

It’s not a very nice house but it does have some nice stuff— sculpture, mostly.

She finds a room.

At first it seems like it’s full of corpses. But it’s not. It’s just full of weird corally lumps. That’s the kind of misapprehension that can happen when you look at a room of weird corally lumps in the dark!

Then she finds the starfish man.

That happens like this. Part of her knows that if she wants to steal things, there’s one room she absolutely shouldn’t check— that room upstairs with the witchlight shining. Conversely, if she wants to maybe help someone, that’s the one room she totally can’t miss. So she figures, making a compromise between the two sides of her nature, that she’ll open it up really quickly and peek in, then run away.

She opens it up really quickly.

She peeks in.

She stops and just stands there staring.

The starfish man is very old. He is sitting very still. He looks just like a human, pretty much, except that his skin’s a little lumpier and his eyes are black.

He’s looking at the door and his eyes capture her.

“Who are you?” she says.

“I sit here every day,” he says. “When one of my limbs rots off, I grow a new one. When the tax man tries to confiscate the property, I grow more taxes. When I’m hungry, sometimes I will eat the roaches, and sometimes I will eat one of my fingers, but I am not hungry very often.”

“Oh,” she says.

His irises are jet black, she thinks, like two little lumps of coal.

“It must be lonely,” she says. “So I thought I’d check up on you. Also, I thought that if you were dead, I’d steal some of your stuff.”

“Dead,” he snorts.

“Well, yes,” she says. “Most people can’t live on fingers and bugs.”

He cracks a smile.

In a rough voice, he confides, “I also have a certain quantity of Twinkies that I picked up long ago.”

She laughs. She doesn’t know why.

“I don’t like people,” he says. “I am practicing to be a bodhisattva, but I am very bad at it, and I generally hurt the people that I encounter.”

Clarissa has no idea what a bodhisattva is.

“Lots of people hurt people,” she says.

“Then you may stay,” he says. “And we will talk.”

She visits him now and again for the next few years. It’s too freaky not to. He’s a starfish man. And eventually he presses her down against the bed and has sex to her, and because she does not resist she considers this process a binding obligation upon her, and they are wed.

They are happy.

Clarissa likes having a home that is always warm and a husband of spartan needs. It is not the marriage she imagined as a child, because he is still and slow and almost lifeless and sometimes he is cruel. Their house has no picket fence, no children, and no dog. If something causes him to lose a limb or other convenience, he waves away her expressions of concern. Irritably, he tells her to leave him alone for a time and the offending limb or article regrows. It is not the marriage she imagined as a child— but it is functional enough.

For the starfish man, the wedding breaks his loneliness. He is a reclusive man and finds her presence grating; but also he finds it warmer than the long years of sitting in the upper room slowly regenerating. So for him also it is a mixed but functional thing.

In any event, it has happened, and both of them consider that they must adjust.

One day, he finds that the endless stepping and breathing and swallowing and burping and scratching and swishing and sitting noises she makes around the house are unbearable intrusions. Rising, wrathful, he forsakes the vow of the bodhisattva to seek the benefit of all sentient beings and hits her. This accomplished once, and seeing the expression on her face and the irritating blood, he hits her again until she is dead, and places her in the room with the sloughed-off bits of himself, and leaves her there.

He becomes lonely.

He regrows her. First she is a lump at the end of his hand. Then she is a body. Then she is Clarissa. He severs her from himself and she assumes an independent identity.

“Oh,” she says.

She rubs the back of her head, feeling a little embarrassed.

“I killed you,” he says. “I’m very sorry. I’ll try to do better. It was not appropriate to my compassionate oath.”

“Um,” she says.

She wraps a blanket around herself. She goes to her room. She takes out some clothes and puts them on and then she sits in her room staring at the wall for a few days.

“I am going away,” she tells him.

So she goes away. It is easier to return to the streets because she does not get hungry any more.

He is lonely.

He regrows her. First she is a lump at the end of his hand. Then she is a body. Then she is Clarissa. He severs her from himself and she assumes an independent identity.

“Oh,” she says.

She rubs the back of her head, feeling a little embarrassed.

“There was an accident,” he says. “That is why you are confused.”

“Oh,” she says.

They are happy.

Clarissa notices that she is not hungry any more, and that when she is, a roach or a Twinkie can conveniently calm her hunger. She notices that she does not get cold and that when she loses a bit of flesh it regrows with uncommon speed.

She does not ask the questions that this poses to her. The implications make her hyperventilate with horror so she simply tries to be a good wife.

Eventually it occurs to her that she should seek work outside the home, which she does, and in the process becomes unfaithful to him with Timothy, an associate.

Wrathful, the starfish man forsakes the vow of the bodhisattva to seek the benefit of all sentient beings and hits her. This accomplished once, and seeing the expression on her face and the irritating blood, he hits her again until she is dead, and places her in the room with the sloughed-off bits of himself, and leaves her there.

He is lonely.

In 1985, Clarissa is struck by a burst of spring cleaning fervor. She airs out the rooms of the house. She dusts everything, even under the refrigerator. She tackles the great project of the sloughed-bits room, and there she finds more than a dozen corpses, each of which bears her face, each of them peculiarly dry and stiff in their death and grown over with starfish mold.

“Oh,” she says. “Oh, dear.”

She stares at them for a long time. Then she gets the starfish man drunk on a sour mix of vodka, lemon, and brine, sets fire to the house, and leaves.

Clarissa works odd jobs long enough to put herself through DeVry and qualify as an electrician. That accomplished, she establishes a new life.

One day she finds a lump at the end of her hand and she sets her job aside for a time. She sits on her bed— unworried about the utilities, which turn themselves on whenever they are turned off; unworried about food, which she does not need; unworried about her friends, whom she suspects now will be better off without indulging in her company. She sits on her bed and she watches the starfish man grow.

“Everything is connected,” she tells him, when the time of gestation is complete and she may cut him from her hand.

“It’s true,” he says.

This is the first step on Clarissa’s road to enlightenment, and so the whole experience might very well be considered a net good for her, except that when he kills her she forgets.

Dispatches from the Age of Iron

Destroy All Christmas

Round 1!

Godzilla stomps on Seattle. CRUNCH!

Christmas stomps on Seattle. CRUNCH!

Interlude: Exposition!

Christmas manifests itself here as a large Christmas tree. It has two floating gloves for hands. There’s a blazing star on top. It has blinky lights for eyes.

This is only one body of Christmas: the kaiju body. But if Godzilla can destroy the kaiju, then Christmas cannot manifest again until the stars are right—December 25, 2005!

Round 2!

Christmas charges Godzilla. Christmas steps on a power up. SPIRIT OF CHRISTMAS!

Christmas breathes the SPIRIT OF CHRISTMAS on Godzilla!

Godzilla blocks!

Christmas breathes the SPIRIT OF CHRISTMAS on Godzilla!

Godzilla falls over.

Christmas picks Godzilla up. Christmas spins Godzilla around. Christmas jumps into the air. A giant spiky metal ball, wrapped in wrapping paper and with a steel-fanged mouth, bursts up from the ground. It roars, “BROTHERLY LOVE CHRISTMAS SPIKY BALL PRESENT!” Christmas smashes Godzilla down onto the spiky metal ball.

Interlude: Exposition!

Godzilla is a large radioactive lizard. He breathes radioactive fire and hits things. He is an aspect of Shiva who fell to Earth in prehistoric times and now mostly sleeps in the ocean.

This is only one aspect of Shiva. But if Christmas can defeat Godzilla, then Shiva cannot destroy Seattle until the stars are right—December 25, 2005!

Round 3!

Godzilal roars!

Godzilla hits Christmas with his tail! Christmas staggers!

UFOs blast Christmas from above!

Christmas falls!

But is Christmas defeated? Or will it rise to crush Godzilla?


You can help save Christmas! Hold on to Christmas in your heart. Declare: “I know you can win, Christmas-sama!”

Or you can help save Godzilla! Hold on to Godzilla in your heart. Declare: “The power of a giant lizard knows no bounds!”

It’s going to take every one of you to decide this legendary battle! GO!

Sellurt and Morgan: The Ark

It is at first Sellurt’s assumption that Noah is exaggerating regarding the number of animals stored on the Ark.

He can hear them, of course. There are always sounds. There is trumpeting and barking and buzzing and keening and at night there is a thin distant wailing that merges with the creaking and shifting and croaking of the wood.

And he sees no small number of them—the zebras, the antelope, the ostriches, the platypuses, and the lions, of course, the lions, more than two of them, more than seven of them, more than he can count, their great padded feet always stalking through the decks.

There is impressive biodiversity on the Ark.

But Sellurt has studied the Earth. He knows how many species there are.

They cannot all be on the Ark.

They are too many.

They are endless.

Mehanem—or Noah, as everyone calls him—is always busy. He does not have time to meet with Sellurt and Morgan. Thus it is that the two visitors from the Galactic Confederacy are abandoned there to the depths below deck, to watch through the portholes the endless dreary rain and listen to the skittering and scratching in the walls. Sometimes Sellurt’s eyes will close and he will wake up to the feather-soft touch of a spider or mosquito crawling across his leg; and each time, he observes with interested horror, it is a different species than he has ever seen before.

“It doesn’t matter,” says Morgan, after a while.

Morgan is sitting at the window, dropping coins from the porthole, watching for and failing to see that moment when they strike the water and vanish into the immensity of the deep.

“It doesn’t matter?” Sellurt asks.

“I mean,” Morgan says, “humans can’t breathe water, right?”

In Sellurt’s mind there is a momentary fantasy of drowning one of Mehanem’s sons, the human’s arms and legs flailing, his face slowly turning blue, his animal noises grinding to a halt.

Then Sellurt shakes his head.

“No,” he agrees. “They can’t.”

“Then their civilization is dead. It doesn’t matter that we’re not able to invite them to join the Galactic Confederacy. They’re dead. It’s over.”

It has been seven days now and the rain has not ceased to fall.

“Surely it’s just this subcontinent,” says Sellurt.

Morgan looks out.

“A whole world can’t die to rain,” Sellurt says.

“It’s surprising,” says Morgan. “How many animals there are. Whether or not he really got them all. Where do you think they go, when we can’t see them?”

On the ninth day, when Sellurt goes to the hatch that leads to the upper levels, he finds two lions there. They are between him and the hatch. They have gingivitis, thanks to their poor dental hygiene, and their maws are dripping blood.

“You’ll have to let me by,” says Sellurt.

But the male lion yawns, with its great yellow teeth, and its breath is rank.

“God,” mutters Sellurt.

He backs away.

There is the sound of hooves on the deck beside him, the heat of fur in the air, the whining of a fly, but when he turns to track the beast’s location with his eyes he cannot see anything but the wooden halls.

Sellurt finds a place where he can hear human footsteps, endless human footsteps, pacing on the decks above. He hammers on the ceiling. He shouts. He is dignified at first but then he screams until he’s hoarse, until he cannot breathe, until he falls and curls upon himself below.

The air is thick and fuzzy and he is sure he is surrounded by the beasts, but when he opens his eyes they are not there.

“Are you okay?” Morgan says, when he finds him.

“I’m fine,” Sellurt says.


“I’m fine,” Sellurt repeats, and then he says: “This is intolerable.”

A koala shares their evening meal that day. It is the first time that either of the aliens have ever seen one, and the last they ever will.

When Sellurt checks the hatch again, the lions are still there.

Every time he checks the hatch, the lions are still there.

The humans are beyond Sellurt and Morgan’s reach.

“It must be Noah,” Sellurt tells Morgan. “The humans are more advanced than we believed.”


“The rain. This isn’t natural rain. It’s something they’re doing. They have a machine. Noah is doing it. He has a machine.

“Why would they kill everyone off?”

“Why aren’t there more of them on the boat?” Sellurt says. “Why were they all left to drown? There’s plenty of room. They could fit twenty, thirty more families in here. But the lions kept them away. The lions stood outside the Ark and kept them away. He wanted them to die.”

“Don’t obsess,” Morgan says.


“We’re an advanced galactic species,” says Morgan. “I’m sure we can figure out some way to deal with lions, if we have to. We could use our stunners. Or some kind of telepathic mind control. The options,” and he gestures extravagantly, “are endless.”

Sellurt sits down heavily.

“Yes,” he says, bitterly. “I’m sure we could.”

There is a great long-legged bug probing at his hand. He’s not sure where it came from. It wasn’t there when he sat down.

He will not shudder, Sellurt decides. He is a citizen of the Galactic Confederacy. He is above such distress.

His meeting with Noah will wait.

On the eighteenth day, Morgan observes, “There are too many animals.”

There is a distant sound of slithering. It is very dark and the damp seeps in through the wood.

“Too many?”

“They are endless,” says Morgan. “Never mind what Noah claims. There are too many different animals, just the ones we’ve seen. They can’t all fit in here, not with this much free space.”

The rats stare at him from the rafters, their red eyes glowing. There is the dry scraping noise of scales on wood. There is a peculiar, choking cough.

“They have to fit,” Sellurt says. “They’re here, aren’t they?”

“There’s no room.”

Sellurt leans back. His eyes are blank and white. He is thinking. He is counting, in his head.

“There’s no room,” he agrees.

The air is hot. It is the steam of a zoo, of a kennel, of a hundred thousand bodies pumping warmth and stench into the air.

Sellurt swats at his arm.

“Why,” he asks plaintively, “did Noah save the wasps?”

There is silence for a time.

“We’ll go,” says Morgan. “We’ll go. We’ll deal with the lions. We’ll face them down.”

“Yes,” says Sellurt.

Something clammy brushes against Morgan’s face. He waves his hand at it but it is gone.

“Stupid frogs,” Morgan adds.

They rise.

They walk in the direction of the hatch.

Morgan stops.

“Don’t stop,” Sellurt says. “We have to get out of here. We have to get to the hatch. I think we will go mad, Morgan, if we stay.”

Morgan is staring at the air, with his head tilted to one side, a peculiar expression on his face.


“We have walked the length of the Ark,” Morgan says. “And more. And still there is no hatch.”

“Ridiculous,” says Sellurt.

And there in the dimness and in no specific direction: not east, not north, not south, not west, Sellurt can make out a shaft that rises through the levels of the ship, above and below, through more floors and spaces than he can count.

“Don’t you see?” Morgan says, his voice immensely small and tiny in the emptiness of the Ark.

“No,” protests Sellurt. “No. I don’t.”

“It’s endless.”

Sellurt can feel the breath of the lions at his back, and there is everywhere to run.

Lizard Cops

bonus content in the world of Countdown to Annihilation!

Sometimes a show just breaks your heart. You know it could have been really good, the kind of show you’ll think of fondly for forever. But then the network cancels it, or shuffles it aimlessly through the time slots, or maybe the whole world blows up. And the show never gets its chance!

That’s the kind of show Lizard Cops was. It would have been a hit, except its audience all died. That tanked its projected ratings something awful, and it never really recovered.

The lead characters were the last two survivors of a primeval race of lizard-people that had lost the ecological competition with humanity. One was a wisecracking jokester, the other a lizardy prophet. These were Tobias . . .

OFFICER: Freeze! Police!

TOBIAS: I am cold-blooded and unable to freeze in the human fashion!

OFFICER: . . . you look human.

TOBIAS: It’s the silky softness of our convergent evolution! Duck!

OFFICER ducks.

TOBIAS leaps over the officer’s shoulder in a velociraptor jump and knocks down a SKULKING CRIMINAL who was standing behind the officer with gun drawn.

. . . and Cooper!

COOPER: Lo, I am Raphael Cooper, one of the last two survivors of a primeval prehuman race, and I say unto you, be not afraid;

COOPER: For I have emerged from my sleep of ages not to harm you but to bring you great tidings;

COOPER: That you are loved by that God that sleeps in the dark places, in the lizard places, in the deeps of the Earth;

COOPER: By the God of frogs and amphibians; of squelching and the damp;

COOPER: By that God who has chosen thee over we to precede the Snavering Lavelwods as lords of all the Earth.

PASSERBY: Your words . . . they have torn through my icy New York reserve! Thank you, lizard prophet! Thank you! Thank you for ceding us the world!

In the premiere, the two of them are invited to join the New York Police Department by its brusque human police chief, Ragin’ Claude.

CLAUDE: Look. I know you two don’t want to get involved in human affairs. But 9/11 changed everything.

TOBIAS: How so?

CLAUDE: America isn’t safe any more. New York isn’t safe any more. If we’re going to stop this terrorist before the Department of Homeland Security does we’re going to need every prehuman lizard cop this force can get.

But the terrorist they hunt is more cunning and clever than even the lizard cops could imagine.

WEEPING WOMAN: He killed my husband! And then I remarried and he killed my next husband! And then I remarried and he killed my next husband! It just keeps happening!

CLAUDE: My God. He’s reenacting the Book of Tobit.

COOPER: Terror has never been so . . . personal.

TOBIAS: . . . Sara, snap out of it. Listen to me. Sara. You have to stop marrying. When he kills your seventh husband, it’s his sinister Biblical exegesis that New York will die!

WEEPING WOMAN: But . . . I joined the Abstinence Until Marriage campaign! I don’t want to be a virgin forever, officer!

CLAUDE: Cooper?

COOPER: It is time to call the Mayor and make prayers unto him;

COOPER: For if the city is to live, he must suspend the abstinence campaign!

The struggle gets ever more intense as Cooper and Tobias come to the terrorist Az’mod’s attention. Az’mod doesn’t like Western society—but he’s practically JIHADIC about ancient prehuman lizard peoples!

AZ’MOD, SHRIEKING: There is no God but Alec and Mohawk is his prophet!

COOPER: That is a misinterpretation of the . . .

AZ’MOD: Your lizard people offend against my faith!

COOPER: Seriously, if you actually read the Koran . . .

AZ’MOD throws a flash bomb. It flares blindingly. COOPER looks away. CLAUDE blinks. But TOBIAS does not look away, and his eyelids are nonfunctional lizard eyelids!

TOBIAS: I’m blind!

AZ’MOD: Ha ha ha ha!

AZ’MOD flees.

COOPER: Fear not, Tobias. We shall have our revenge;

COOPER: We shall catch him, and try him;

COOPER: And if the trial goes poorly the DHS shall render him unto Egypt to be bound.

TOBIAS: Is that the will of God?

CLAUDE pages through a handy copy of the Bible.

CLAUDE: Looks like.

COOPER: We cannot know;

COOPER: For, of course, what is canon to the Catholics, and should therefore be the literal word of God

COOPER: Is sometimes apocryphal to Protestants.

CLAUDE is still reading.

CLAUDE: Hold the presses, Cooper! If this is inerrant, then there’s some sort of magic fish whose gall can heal Tobias’ eyes!

COOPER: Then God has sent us a message.

TOBIAS: Where we find that fish, we’ll find . . . the terrorist Az’mod!

It was pretty clear that this was going to be the best show ever. But then the world exploded and the broadcast crew died.

Maybe they’d planned to teach the true word of God, set in a world of lizard cops where the Holy Scripture is the only honest guide through the treacherous machinations of criminals, terrorists, and scum. Or maybe they’d planned to break with the concept of Biblical inerrancy and have one or two bits prove themselves … well … only metaphorically true.

We’ll never know. Not now. But it would have been something to see, don’t you think?

Nightmare of the Rustling

It is night. Micah and Liril are sleeping. Tainted John is laying down.

There is a rustling.

Micah is instantly awake.

There is a further rustling. Something is scurrying and slithering in the pine needles. It is evil.

Micah is on his feet. He is looking towards it.

It is great and serpentine and slithery. It is pale moonlight colors, blue and cold. It has a terrible maw. It has black feathers on its head and raven eyes. It is just the sort of thing that one finds making rustling noises in the forest.

“Once upon a time,” the creature whispers, and its voice is moon and stars and wind, “a runaway child broke his leg here. So he died. And I grew inside him. And then I came out. And now I must kill runaway children to lay my eggs in them.”

Micah looks at Tainted John. Tainted John does not seem to have noticed the rustling or the creature’s speech.

The creature’s head sways back and forth in the air. Then it arcs viciously towards Micah. Micah moves to meet it, then stops, his hands splayed in the air, as if against an invisible wall. The creature stops too.

“There’s a glass door,” Micah bluffs. “Bump! If you attack, you’ll hit your head on it!”

The creature hesitates. “Open it,” it says.

“There’s no handle!”

The creature eyes him narrowly. It has bumped into glass doors before. They are one of its natural enemies. But the air is undisturbed.

“I do not believe you,” it whispers.

“I wouldn’t let her sleep out here defenseless,” Micah bluffs.

And if this works, we cannot know.