“No.” Tonkee crouches near a strange, low plinth at the center of the room. It looks like a crystal shaft whose middle has been chopped out: You see the (flickering, unreal) base growing from the ceiling, and the plinth is its (flickering in tandem) continuation, but there’s a five-foot section in between that’s just empty space. The plinth’s surface has been cut so smoothly that it gleams like a mirror—and the surface stays solid, even as the rest of the shaft flickers.
At first you think there’s nothing on it. But Tonkee is peering at the plinth’s surface so intently that you walk over to join her. When you hunker down for a better look, she glances up to meet your eyes, and you’re shocked at the barely disguised glee in hers. Not really shocked by that; you know her by now. You’re shocked because this high gleam, plus the new undisguise of her clean, short hair and neat clothing, transforms her so obviously into an older version of Binof that you marvel again you didn’t see it at once.
But that’s unimportant. You focus on the plinth, even though there are other wonders to behold: a taller plinth near the back of the room, above which floats a foot-tall miniature obelisk the same emerald color as the floor; another plinth bearing an oblong hunk of rock, also floating; a series of clear squares set into one wall bearing strange diagrams of some sort of equipment; a series of panels along the wall beneath them, each bearing meters measuring something unknown in numbers that you can’t decipher.
On the big plinth, though, are the least obtrusive objects in the room: six tiny metallic shards, each needle-thin and no longer than your thumbnail. They are not the same silvery metal that makes up Castrima’s ancient structures; this metal is a smooth dark color dusted faintly with red. Iron. Amazing that it hasn’t oxidized away over all the years of Castrima’s existence. Unless—“Did you put these here?” you ask Tonkee.
She’s instantly furious. “Yes, of course I would enter the control core of a deadciv artifact, find the most dangerous device in it, and immediately throw bits of rusty metal on it!”
“Don’t be an ass, please.” Though you did sort of deserve that, you’re too intrigued to be really annoyed. “Why do you think this is the most dangerous device in here?”
Tonkee points to the beveled edge of the plinth. You look closer and blink. The material is not smooth like the rest of the crystal shaft; on the edge it has been heavily etched with symbols and writing. The writing is the same as that along the wall panels—oh. And they are glowing red, the color seeming to float and waver just over the surface of the material.
“And this,” Tonkee says. She raises a hand and moves it toward the plinth’s surface and the metal bits. Abruptly the red letters leap into the air—you don’t have a better way to describe what’s happening than that. In an instant they have enlarged and turned to face you, blazing the air at eye level with what is unmistakably some sort of warning. Red is the color of lava pools. It is the color of a lake when everything in it has died except toxic algae: one warning sign of an impending blow. Some things do not change with time or culture, you feel certain.
(You are wrong, generally speaking. But in this specific case, you’re quite right.)
Everyone’s staring. Hjarka comes close and lifts a hand to try to touch the floating letters; her fingers pass through them. Ykka moves around the plinth, fascinated despite herself. “I’ve noticed this thing before, but never really paid attention to it. The letters turn with me.”
They haven’t moved. But you lean to one side—and sure enough, as you do this the letters pivot slightly to remain facing you.
Impatiently, Tonkee pulls her hand back and waves Hjarka’s hand out of the way, and the letters flatten and shrink back into quiescence along the plinth edge. “There’s no barrier, though. Usually in a deadciv artifact—an artifact from this civilization—anything truly dangerous is sealed off in some way. There’s either a physical barrier, or evidence that there was once a barrier that’s failed with time. If they really didn’t want you to touch something, you either didn’t touch it or you’d have to work pretty damned hard to touch it. This? Just a warning. I don’t know what that means.”
“Can you actually touch those things?” You reach toward one of the bits of iron, ignoring the warning this time when it springs up. Tonkee hisses at you so sharply that you jerk back like a child caught doing something you weren’t supposed to.
“I said don’t rusting touch! What’s wrong with you?” You clench your jaw, but you deserved that, too, and you’re too much a mother to deny it.
“How long have you been coming in here?” Ykka’s crouched next to Tonkee’s sleeping pallet.
Tonkee’s staring down at the iron bits, and at first you think she hasn’t heard Ykka; she doesn’t answer for a long moment. There is a look on her face that you’re starting not to like. You can’t say you really know her any more now than you did when you were a grit, but you do know that she isn’t the grim sort. That she is grim now, the tightened muscle along her jawline making it stand out more than you know she likes, is a very bad sign. She’s up to something. She says to Ykka, “A week. But I only moved in three days ago. I think. I lost track.” She rubs her eyes. “I haven’t slept a lot.”
Ykka shakes her head and rises. “Well, at least you haven’t destroyed the rusting comm already. Tell me what you’ve figured out, then.”
Tonkee turns to eye her warily. “Those panels along the wall activate, and regulate, the water pumps and air circulation systems and cooling processes. But you knew that already.”
“Yes. Since we’re not dead.” Ykka dusts off her hands from where she touched the floor, sidling toward Tonkee in a way that is somehow simultaneously thoughtful and subtly menacing. She’s not as big as most Sanzed women—a good foot shorter than Hjarka. Her dangerousness is not as obvious as it is with others, but you sense the slow readying of her orogeny now. She was fully prepared to smash or ice her way into this place. The Strongbacks shift and edge a little closer, too, reinforcing her unspoken threat.
“What I want to know,” she continues, “is how you knew that.” She stops, facing Tonkee. “We figured it out, in those early days, through trial and error. Touch one thing and it gets cooler, touch another and the communal pool water gets hotter. But nothing’s changed in the past week.”
Tonkee sighs a little. “I’ve learned how to decipher some of the symbols over the years. Spend enough time in these kinds of ruins and you see the same things repeated over and over.”
Ykka considers this, then nods toward the warning text around the plinth rim. “What’s that say?”
“No idea. I said decipher, not read. Symbols, not language.” Tonkee walks over to one of the wall panels and points to a prominent design in its top right corner. It’s nothing intuitive: something green and arrow-like but squiggly, sort of, pointed downward. “I see that one wherever there were water gardens. I think it’s about the quality and intensity of the light that the gardens get.” She eyes Ykka. “Actually, I know it’s about the light the gardens get.”
Ykka lifts her chin a little, just enough that you know Tonkee has guessed right. “So this place is no different from other ruins you’ve seen? The others had crystals in them, like this?”
“No. I’ve never seen anything like Castrima before. Except—” She glances at you, once and away. “Well. Not exactly like Castrima.”
“That thing in the Fulcrum wasn’t anything like this,” you blurt. It’s been more than twenty years, but you haven’t forgotten a detail about the place. That was a pit, and Castrima is a rock with a hole in it. If both were made by the same kinds of people, to do similar things, there’s no evidence of that anywhere.