A Thousand Pieces of You
Page 25
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“We’re on a journey,” Conley says, a small smile on his face. “You, me, everyone on Planet Earth. And that journey is getting faster by the moment—accelerating every second. I’m talking about the journey into the future, specifically, the future we’re creating through technology.”
As he crosses the stage with a confident swagger, the screen behind him shows an infographic titled “Rates of Technological Change.” Throughout most of human history, it’s a line moving very slowly upward. Then, in the mid-nineteenth century, it spikes up—and in the most recent three decades, goes almost completely vertical.
Conley says, “For all the differences in their eras, Julius Caesar would have fundamentally understood the world of Napoleon Bonaparte, a warrior who lived nearly two thousand years later. Napoleon might have understood Dwight D. Eisenhower, who fought not even a hundred and fifty years after Waterloo. But I don’t think Eisenhower could even begin to wrap his mind around drone warfare, spy satellites, or any of the technology that now defines the security of our world.”
For a history lesson, this is almost interesting. Maybe it’s the way he talks with his hands, like an excited kid. But right when I might actually get drawn in, I see Paul walking swiftly up the side aisle to the exit.
Theo’s hand closes over my forearm, tightly, in warning. He whispers, “You see him too?”
I nod. He rises from his seat—crouching low so we don’t block anyone’s view and create a disturbance—and I do the same as we slip out to the side of the auditorium.
A few people give us annoyed looks, but the only sound in the room remains Conley’s voice. “For generations now, people have dreaded World War Three. But they’re making a huge mistake. They’re expecting war to look the way it looked before.”
Nobody much is milling around in the corridors outside, except for a few harried assistants trying to prep for some kind of follow-up reception. So Theo and I go unnoticed as we try to figure out where, exactly, Paul might have gone. In a building this old, nothing is laid out quite like you’d expect.
“Through here, maybe?” Theo opens a door that leads into a darkened room, one empty of chairs or tables.
I follow him inside; as the door swings shut behind us, darkness seals us in, except for the faint glow of the tech we wear—our holoclips, or my security bracelet. We can hear Conley’s speech again, but muffled. “The next challenges humanity will face are going to be fundamentally different from any we’ve faced before. New threats, yes—but new opportunities, too.”
Then we hear something else. Footsteps.
Theo’s arm catches me across the belly as he pulls us both backward, until we’re standing against the wall, hiding in the most absolute darkness. Adrenaline rushes through me; my hair prickles on my scalp, and I can hardly catch my breath.
The steps come closer. Theo and I look over at each other, side by side in the dark, his hand firm against my stomach. It’s too dark for me to understand the expression in his eyes.
Then he whispers, “The far corner. Go.”
We break apart. I rush into the corner, like he said, while Theo walks straight toward the steps . . . which turn out to belong to a tall man in a uniform who doesn’t have a sense of humor.
I knew somebody like Wyatt Conley would have security.
“I only wanted to get an autograph afterward,” Theo says as he keeps going, leading the guard farther from me. “Do you think he’d sign my arm? I could tattoo the autograph on there forever!”
Probably Theo meant for me to get out of here while he distracts the guard. Instead I creep around closer to the stage, and to Paul.
From onstage, Conley says, “The dangers we have to fear aren’t the ones we’re used to. They’re coming from directions we never imagined.”
Theo protests as the guard backs him out of the room, “Oh, come on, no need to overreact—” The door swings shut again, and I can’t hear his voice any longer. I glance over my shoulder, as though looking for Theo would bring him back again—
—which is when Paul Markov’s hand clamps down over my mouth.
My father’s killer whispers, “Don’t scream.”
9
PAUL PULLS ME BACKWARD. HE HAS ONE HAND AROUND MY waist, the other over my mouth. My legs go watery, and I actually have to tell myself not to pass out.
What do I do? I always envisioned attacking him, not being attacked. How could I let him get the jump on me? How could I have been so stupid?
“What are you doing here?” he whispers. We’re just behind the curtain. “How can you even be here?”
I grab at his arm, though I know I’m not strong enough to pull his hand away—and that’s when I glimpse the bracelet on my wrist.
Defender.
Quickly I click the bracelet like the woman on the video. Instantly, a blue-white shock jolts into Paul’s hand.
Paul yells in pain, and I push myself free of him—and stumble through the curtain onto the stage. For a moment I stand there in the spotlight, in a state of shock, only a few feet away from Wyatt Conley. We stare at each other while the startled audience murmurs and I try to figure out what I can possibly say.
Then Paul’s hand closes on my elbow, and I scream.
“Security!” Conley yells as Paul pulls me offstage and people in the audience start shouting. But security isn’t around, because they’re busy throwing out Theo. That means it’s up to me.
As he crosses the stage with a confident swagger, the screen behind him shows an infographic titled “Rates of Technological Change.” Throughout most of human history, it’s a line moving very slowly upward. Then, in the mid-nineteenth century, it spikes up—and in the most recent three decades, goes almost completely vertical.
Conley says, “For all the differences in their eras, Julius Caesar would have fundamentally understood the world of Napoleon Bonaparte, a warrior who lived nearly two thousand years later. Napoleon might have understood Dwight D. Eisenhower, who fought not even a hundred and fifty years after Waterloo. But I don’t think Eisenhower could even begin to wrap his mind around drone warfare, spy satellites, or any of the technology that now defines the security of our world.”
For a history lesson, this is almost interesting. Maybe it’s the way he talks with his hands, like an excited kid. But right when I might actually get drawn in, I see Paul walking swiftly up the side aisle to the exit.
Theo’s hand closes over my forearm, tightly, in warning. He whispers, “You see him too?”
I nod. He rises from his seat—crouching low so we don’t block anyone’s view and create a disturbance—and I do the same as we slip out to the side of the auditorium.
A few people give us annoyed looks, but the only sound in the room remains Conley’s voice. “For generations now, people have dreaded World War Three. But they’re making a huge mistake. They’re expecting war to look the way it looked before.”
Nobody much is milling around in the corridors outside, except for a few harried assistants trying to prep for some kind of follow-up reception. So Theo and I go unnoticed as we try to figure out where, exactly, Paul might have gone. In a building this old, nothing is laid out quite like you’d expect.
“Through here, maybe?” Theo opens a door that leads into a darkened room, one empty of chairs or tables.
I follow him inside; as the door swings shut behind us, darkness seals us in, except for the faint glow of the tech we wear—our holoclips, or my security bracelet. We can hear Conley’s speech again, but muffled. “The next challenges humanity will face are going to be fundamentally different from any we’ve faced before. New threats, yes—but new opportunities, too.”
Then we hear something else. Footsteps.
Theo’s arm catches me across the belly as he pulls us both backward, until we’re standing against the wall, hiding in the most absolute darkness. Adrenaline rushes through me; my hair prickles on my scalp, and I can hardly catch my breath.
The steps come closer. Theo and I look over at each other, side by side in the dark, his hand firm against my stomach. It’s too dark for me to understand the expression in his eyes.
Then he whispers, “The far corner. Go.”
We break apart. I rush into the corner, like he said, while Theo walks straight toward the steps . . . which turn out to belong to a tall man in a uniform who doesn’t have a sense of humor.
I knew somebody like Wyatt Conley would have security.
“I only wanted to get an autograph afterward,” Theo says as he keeps going, leading the guard farther from me. “Do you think he’d sign my arm? I could tattoo the autograph on there forever!”
Probably Theo meant for me to get out of here while he distracts the guard. Instead I creep around closer to the stage, and to Paul.
From onstage, Conley says, “The dangers we have to fear aren’t the ones we’re used to. They’re coming from directions we never imagined.”
Theo protests as the guard backs him out of the room, “Oh, come on, no need to overreact—” The door swings shut again, and I can’t hear his voice any longer. I glance over my shoulder, as though looking for Theo would bring him back again—
—which is when Paul Markov’s hand clamps down over my mouth.
My father’s killer whispers, “Don’t scream.”
9
PAUL PULLS ME BACKWARD. HE HAS ONE HAND AROUND MY waist, the other over my mouth. My legs go watery, and I actually have to tell myself not to pass out.
What do I do? I always envisioned attacking him, not being attacked. How could I let him get the jump on me? How could I have been so stupid?
“What are you doing here?” he whispers. We’re just behind the curtain. “How can you even be here?”
I grab at his arm, though I know I’m not strong enough to pull his hand away—and that’s when I glimpse the bracelet on my wrist.
Defender.
Quickly I click the bracelet like the woman on the video. Instantly, a blue-white shock jolts into Paul’s hand.
Paul yells in pain, and I push myself free of him—and stumble through the curtain onto the stage. For a moment I stand there in the spotlight, in a state of shock, only a few feet away from Wyatt Conley. We stare at each other while the startled audience murmurs and I try to figure out what I can possibly say.
Then Paul’s hand closes on my elbow, and I scream.
“Security!” Conley yells as Paul pulls me offstage and people in the audience start shouting. But security isn’t around, because they’re busy throwing out Theo. That means it’s up to me.
