"We have to be fast, Fitch. We can't be out."

"I know what you're doing, you know," Fitch said, with a trace of humour. "Trap us in vows."

"Confidentiality," Saira said.

"I need you to be secret, yeah, but I need a seeing, as well ... And I can rely on your-"

"You know what we're going to tell you," Saira said. Her voice was startlingly posh. "Have we been at all quiet with warnings, recently? Why'd you think we're low on numbers? Some of us are a bit futuresick."

"When have we ever taken sides, Dane?" Fitch said.

The Londonmancers had been there since Gogmagog and Corineus, since Mithras and the rest. Like their sibling chapters in other psychopoli, the Paristurges (Dane had carefully pronounced it to Billy French-wise, pareetourdzh) pareetourdzh), the Warsawtarchs, the Berlinimagi, they had always been ostentatiously neutral. That was how they could survive.

Not custodians of the city: they called themselves its cells. They recruited young and nurtured hexes, shapings, foresight and the diagnostic trances they called urbopathy. They, they insisted, were just conduits for the flows gathered by streets. They did not worship London but held it in respectful distrust, channelled its needs, urges and insights.

You couldn't couldn't trust it. It wasn't one thing, for a start-though it also was-and it didn't have one agenda. A gestalt metropole entity, with regions like Hoxton and Queen's Park cosying up to the worst power, Walthamstow more combatively independent, Holborn vague and sieve-leaky, all of them bickering components of a totality, a London something, seen. trust it. It wasn't one thing, for a start-though it also was-and it didn't have one agenda. A gestalt metropole entity, with regions like Hoxton and Queen's Park cosying up to the worst power, Walthamstow more combatively independent, Holborn vague and sieve-leaky, all of them bickering components of a totality, a London something, seen.

"No one'll give us a straight answer about what's coming," Billy said.

"Well it's hard to see," said Fitch. "Except for it's bloody ... Just the thing of it. I can see something." Billy and Dane looked at each other. "Alright then. You want a reading. You want to know what's going on? Saira, Marcus. Let's take Dane and Billy to see what we can see."

OUTSIDE THE WIND WHIPPED AT THEM. "YOU KNOW WE'RE HUNTED?" Billy whispered to Saira. Billy whispered to Saira.

"Yeah," she said. "I think we got that." She smoked with the offhand elegance that reminded him of the girls he had been unable to get with at school.

"What are you looking at?" she said.

"I was thinking about a friend of mine, and his girlfriend." It was true. "I can't even ..." Billy looked down. "He died, it was that that got me here, and I can't help, I'm thinking about her, about what she's ..." It was the truth. "I wish I could tell her, she doesn't even know he died."

"You miss him."

"God yes."

Marcus lugged a heavy bag. "I know you'd rather be indoors, Dane," Saira said, "but you know how this works."

Dane watched the skies and the buildings. He kept his hand in his bag on his weapon. They went between glass fronts and banks, beside sandwich shops, into the deeps of the City of London. They kept off the main places full of pedestrians, suited workers.

Saira was looking at Billy sideways. He was not really watching where they were going. He was not keeping his eyes open, as he knew he should. He was just at that moment, in that second, all wrapped up in the misery of it, of what had happened. He followed the sound of his companions' footsteps.

"Fitch," Saira said. She spoke to him quietly.

Dane listened. "We ain't got time," he said.

They emerged into a more main road, by a red postbox. Billy was watching now, bewildered, as Fitch put his hands on it, at belly-height, as if feeling for an unborn child. He strained. He looked to Billy as if he was having a shit.

"Quick," he said to Billy. "It won't last forever."

"I don't ..."

"You want to say something to your friend's friend," Saira said to him quietly.

"What?"

"Look at what you're carrying. Talk to her."

What is this bollocks? Billy thought. Saira's face was carefully neutral, but the kindness angered him. Not her fault, he knew that. Billy thought. Saira's face was carefully neutral, but the kindness angered him. Not her fault, he knew that. I'm not going through this charade I'm not going through this charade, he thought.

"It'll make you feel better," she said. "This isn't Hoxton. You're alright to do this here."

London as therapy, was it? It was everything else, why not that too? Why was Dane not racing them on? Billy was exasperated, and turned, but there was Dane, merely waiting. In the open, exposed, rushed for time, waiting for Billy to do this, like he thought it was a good idea.

It's not like I'm going to cry, Billy thought, but that thought was a bad idea, and he had to turn away. Toward the postbox. He walked toward it.

A pretty drab metaphor, such obvious correspondences; here he was about to pass on a message pass on a message through the city's traditional conduits. He felt absurd and resentful, but he still could not look at those waiting for him, and he could still think only of Leon, and, some mediated guilt, of Marge. There were passersby, but no one watched. He stared into the darkness of the postbox's slot. through the city's traditional conduits. He felt absurd and resentful, but he still could not look at those waiting for him, and he could still think only of Leon, and, some mediated guilt, of Marge. There were passersby, but no one watched. He stared into the darkness of the postbox's slot.

Billy leaned in. He put his mouth to it. London as therapy. He whispered into the box: "Leon ..." He swallowed. "Marge, I'm sorry. Leon's dead. Someone killed him. I'm doing what I can to ... He's dead. I'm sorry, Marge. You stay out of this, alright? I'm doing what I can. Look after yourself."

Why were they making him do this? For whose benefit was this? He pressed his forehead to the metal and thought he would cry, but he was whispering his message again, and remembering the scene that he could hardly remember, the confrontation between Leon and Goss, and Leon's disappearance. And he did not feel like crying anymore. He did, in fact, feel like he had dropped something into the hole.

"Feel better?" said Dane when he stepped away. "You look better."

Billy said nothing. Saira said nothing, but there was something in how she did not look at him.

"HERE," FITCH SAID. THEY WERE IN A CUL-DE-SAC CLOTTED WITH refuse. Behind a wooden hoarding, cranes swung like prehistoric things. There was a pounding and whine of industrial machinery, the shouts of crews. "No one'll hear." refuse. Behind a wooden hoarding, cranes swung like prehistoric things. There was a pounding and whine of industrial machinery, the shouts of crews. "No one'll hear."

Fitch opened his bag. He took out overalls, goggles, a mouth-mask, a crowbar and a well-used angle grinder. A strange, strange image in one so frail. Dane had told Billy, "Marcus has got something to do with the immunes, Saira's a plastician, but Fitch is boss even though he's past it because he's the haruspex." And seeing Billy's face, he had added, "He reads entrails."

Fitch was an old man in protective gear. He started the cutter. With a groan of metal and cement, he drew a line across the pavement. Behind the blade welled up blood.

"Jesus Christ," said Billy, jumping back.

Fitch drew the cutter again along the split. A spray of concrete dust and blood mist dirtied him. He put the angle grinder down, dripping. Put a crowbar in the red-wet crack and levered harder than it looked like he could. The paving stone parted.

Guts oozed from the hole. Intestinal coils, purple and bloodied, boiled up wetly in a meat mass.

Billy had thought the entrails of the city would be its torn-up under-earth, roots, the pipes he was not supposed to see. He had thought Fitch would bring up a corner of wires, worms and plumbing to interpret. The literalism of this knack shocked him.

Fitch murmured. He poked the mess with his fingers, gentle as a pianist, moving the fibred tubes subtly, investigating the angles between the loops of London's viscera, looking up as if they mirrored something in the sky. "Look look," he said. "Look look look. Do you see? see? Do you see what we've been saying? It's always the same, now." He sketched shapes in the innards pile. "Look." The offal moved. "Everything closing down. Something coming up. Do you see what we've been saying? It's always the same, now." He sketched shapes in the innards pile. "Look." The offal moved. "Everything closing down. Something coming up. The kraken." The kraken." Billy and Dane stared. Was that new? The kraken? "And look. Fire. Billy and Dane stared. Was that new? The kraken? "And look. Fire.

"Always fire. The kraken and all the jars. Then flames." The guts were greying. They were oozing into each other, their substance merging.

"Fitch, we need details," Dane said. "We need to know exactly what it is you're all seeing ..." But there was no containing, corralling, shepherding Fitch's flow.

"Fire taking it all," he said, "and the kraken's moving, and the fire taking everything, the glass catches on fire until it goes up in a cloud of sand sand. And everything's going now." The pooled guts were oozing into a slag pile, becoming cement. "Everything's "Everything's going. Not just what's there. It's burning undone. The world's going with it, the sky, and the water, and the city. London's going. And it's going, and now it's always been gone. Everything." going. Not just what's there. It's burning undone. The world's going with it, the sky, and the water, and the city. London's going. And it's going, and now it's always been gone. Everything."

"That is not not how it's supposed to go," Dane whispered. Not his longed-for teuthic end. how it's supposed to go," Dane whispered. Not his longed-for teuthic end.

"Everything," Fitch said. "Is Fitch said. "Is gone. Forever gone. Forever. And since since forever. In fire." forever. In fire."

His finger came to a stop, on what was now a bubbled-up, setting mound of concrete. He looked up. Billy's heart had accelerated with the pitch of the old man's speech.

"Everything's ending," Fitch said. "And all the other maybes that should be there to fight it out are drying up, one by one." He closed his eyes. "The kraken burns and the jars and tanks burn and then everything burns, and then there's nothing ever again."

Chapter Thirty-Four

KATH C COLLINGSWOOD WAS IN A WINDOWLESS STOREROOM LIKE some forgotten dollhouse heart of the Neasden Station. Baron watched through the door's wire-reinforced glass. He had seen Collingswood perform this before. It was a methodology of her own creation. Vardy was there, standing back, his arms crossed, watching over Baron's shoulder. some forgotten dollhouse heart of the Neasden Station. Baron watched through the door's wire-reinforced glass. He had seen Collingswood perform this before. It was a methodology of her own creation. Vardy was there, standing back, his arms crossed, watching over Baron's shoulder.

The room was dusty. Collingswood thought the presence of that desiccation, the sheddings of time, was efficacious. She could not be sure. She replicated as many of the circumstances of her cavalier first success as she could, knowing each might be mere superstition, and she a kind of Skinnerian rat. So the pile of empty cardboard boxes in one corner were left as they had been for months. When Baron had inadvertently knocked one out of position, she had given him an earful and spent minutes trying to rebuild the stack as it had been in case of some nuance of force in the angles.

"Wati ain't going to come here," she had said to Baron, "even if he could." There were wards in place keeping figures and toys within the station empty of hitchhikers. "We got to get him where he lives." Not in the statues-those were moments of rest. Wati lived in one of the infinite iterations of the aether.

In the middle of the striplit room was a pile of magicky stuff: a brazier in which burned a chemically coloured fire; a stool on which were bottles of blood; words in old languages on particular paper. Three old televisions were plugged in surrounding the pile, beaming static into it.

"Here," said Baron conversationally to Vardy, "come the PCDs."

COLLINGSWOOD DRIPPED BLOOD INTO THE FIRE. EMPTIED LITTLE urns of ashes into it. It flared. She added papers. The flames changed colours. urns of ashes into it. It flared. She added papers. The flames changed colours.

The fluorescent lights flattened out the conjuration, gave shadows few places to gather or hide, but shadows managed. Patches like dirty air welled. Collingswood murmured. She pressed a remote control and the televisions began to play well-worn videos to the fire. The audio was low but audible-ragged theme musics, jump-cut editing, men snarling.

"Officers," said Collingswood. "Duty call." The gusting things coiled around the rising fire, muttering. leave it leave it she heard one whisper. she heard one whisper.

Collingswood threw two videos into the brazier. They gushed smoke that clotted, and the darknesses dived through it. There were hisses like pleasure. She turned up the televisions. They started to shout. Vardy shook his head.

"Think what you like," Baron said. "She's smart as a whip to think this up."

"Just because you've passed on," Collingswood said to the muttering nothings, "don't mean you ain't on duty." They gibbered at the hard men with outdated haircuts, the screened car chases and fist-fights. She threw another video onto the fire, some paperbacks. Shades crooned.

PCDs, Baron had called the presences she was invoking-Police Constables, Deceased.

There are a thousand ways of inhabiting it, but the aether, that in-between, is always what it is; and ghosts, spirits, the souls of lucid dreamers squeeze past each other in complex asomatic ecology. Who better to close in on Wati the bodiless subversive than bodiless forces of the law?

"Come on, Constables," Collingswood said. "I'd say you live for this shit, but that would be a bit tasteless."

She pushed each television closer to the flames. The shadow-officers spiralled over the fire. They barked like spectral seals.

Cacophony of overlapping old shows. The glass fronts of the televisions blackened, and first one, then rapidly the other two sets banged, ceased transmissions. Smoke gushed from their vents, then gushed back in in under pressure from the PCDs, who tore down the gradient of heat into the sets, jabbering. under pressure from the PCDs, who tore down the gradient of heat into the sets, jabbering.

as high. A snarl in the room's abrupt silence.

as high was proscenium longy eye's tree.

leave it, Collingswood heard, evenin evenin all evenin all, hes a nonce sarge, fell dan the stairs. as high was proscenium evenin evenin all evenin all, hes a nonce sarge, fell dan the stairs. as high was proscenium.

"Alright," she said. "PC Smith, PC Brown, and PC Jones. You three are heroes. You all made the ultimate sacrifice for the force. Line of duty." The dirty smoke ghosts shivered, in and out of sight, proudly waited. "Now's your chance," she said, "to do it again. Work for those pensions you never got, right?" She lifted a big file.

"In here's all the info we've got on the case so far. What we need is a certain bad boy name of Wati. Flits about a bit, does Wati. We need him brought to heel."

wati wati? some voice said out of smoke. some voice said out of smoke. sands like a nonce sands like a paki oozes wati cunt? sands like a nonce sands like a paki oozes wati cunt?

"Half a mo," Collingswood said. slag a slag slag a slag she heard, she heard, arl nick that cunt arl nick that cunt. She dropped the folder into the fire. done me prad done me prad.

The ghost-things made ah ah noises, as if they were lowering themselves into a bath. They churned up a froth of aether that made Collingswood's skin itch. noises, as if they were lowering themselves into a bath. They churned up a froth of aether that made Collingswood's skin itch.

Ghosts, she thought. As if As if.

IT WAS A CON TRICK, WHOSE GULLED VICTIMS WERE THE TRICK itself. A persuasion. These things she had made, constituted of vague but intensely proud memories of canteen banter, villains brought down, uppity little cunts slapped into place, smoky offices and dirty, seedy, honourable deaths, had not existed until a few moments before. itself. A persuasion. These things she had made, constituted of vague but intensely proud memories of canteen banter, villains brought down, uppity little cunts slapped into place, smoky offices and dirty, seedy, honourable deaths, had not existed until a few moments before.

Ghosts were complicated. The residue of a human soul, any human soul at all, was far too complex, contradictory, and willful, not to say traumatised by death, to do anything anyone wanted. In the rare and random cases when death was not the end, there was no saying what aspects, what disavowed facets of persona, might fight it out with others in posthumous identity.

It isn't a paradox of haunting-it only appears to be to the alive-that ghosts ghosts are often are often nothing at all nothing at all like the living whose trace they are: that the child visited by the gentle and much-loved uncle succumbed to cancer maybe horrified by his shade's cruel and vindictive needling; that the revenant spirit of some terrorising bastard does nothing but smile and try with clumsy ectoplasmic intervention to feed the cat his fleshly leg had kicked days before. Even had she been able to invoke the spirit of the most tenacious, revered, uncompromising Flying Squad officer of the last thirty years, Collingswood might well have found the spirit a wistful aesthete or a simpering five-year-old. So the experience and verve of genuine dead generations were closed to her. like the living whose trace they are: that the child visited by the gentle and much-loved uncle succumbed to cancer maybe horrified by his shade's cruel and vindictive needling; that the revenant spirit of some terrorising bastard does nothing but smile and try with clumsy ectoplasmic intervention to feed the cat his fleshly leg had kicked days before. Even had she been able to invoke the spirit of the most tenacious, revered, uncompromising Flying Squad officer of the last thirty years, Collingswood might well have found the spirit a wistful aesthete or a simpering five-year-old. So the experience and verve of genuine dead generations were closed to her.

There was another option. Toss up a few crude police-functions that thought thought they were ghosts. they were ghosts.

Doubtless there was some soul-stuff from genuinely deceased officers in the mix. A base, an undercoat of police reasoning. The trick, Collingswood had learnt, was to keep it general. Abstract as possible. She could clot together snips of supernatural agency out of will, technique, a few remnants of memory and, above all, images images, the more obvious the better. Hence the cheap police procedurals she burnt. Hence the televisions and the tapes, copies of The Sweeney The Sweeney and and The Professionals The Professionals, spiced with a little Dixon Dixon for sanctimony, swirled up into a golden-age nonsense dream that trained her spectral functions in what to do and how to be. for sanctimony, swirled up into a golden-age nonsense dream that trained her spectral functions in what to do and how to be.

This was no arena for nuance. Collingswood wasn't concerned with fine points of post-Lawrence policing, sensitivity training, community outreach. This was about the city's daydream. A fetishised seventies full of proper men proper men. There went a DVD of Life on Mars Life on Mars onto the pyre. onto the pyre.

What Collingswood did was motivate into being tenacious gung-ho cliches that believed themselves. She heard herself slipping into the absurd register the functions themselves used, the kitsch pronouncements and exaggerated, stretched-out London accents.

"There you go, squire," she said. "That's yer lot. Wati. Last known address: any fucking statue. Job: making our lives difficult."

They did not have to be, could not really be, clever, the faux ghosts; but they had a nasty sort of cunning, and the accrued nous of years' worth of screenwriters' fancy. little bastard little bastard she heard them say. she heard them say. look at this shit look at this shit, a billowing of ashes of case notes. bring this little toerag in, overtime, nonce, slag, guv, sarge, proceedin long the eye street bring this little toerag in, overtime, nonce, slag, guv, sarge, proceedin long the eye street. They clucked the words. They muttered in conspiracy, compared nonexistent notes. Collingswood heard them say names from the case-wati billy dane adler archie teuthex bleedin nora-as they learnt them from the burning files.

The presence or presences-they shifted between unity and plurality-slipped out of sensibility, out of the room. fuckin bleedin ell fuckin bleedin ell, Collingswood heard. whats coming to him whats coming to him.

"Alright," she said, as they went, and the smell of burnt crap and blown-out televisions, no longer clotted to them, began to fill the room. "Bring him in. Don't ... you know. You've got to bring the little sod in. Need to ask him a few questions."

MARGE WENT EVERYWHERE SHE COULD IMAGINE THAT MIGHT HAVE connections with Leon or Billy, and put up photocopied posters. An hour and a half on her laptop, two jpegs and a basic layout, connections with Leon or Billy, and put up photocopied posters. An hour and a half on her laptop, two jpegs and a basic layout, Have You Seen These Men? Have You Seen These Men? She gave their names, and the number of a mobile phone that she had bought specifically, dedicated purely to this hunt. She gave their names, and the number of a mobile phone that she had bought specifically, dedicated purely to this hunt.

She stapled them to trees, put the posters on newsagent notice boards, taped them to the sides of postboxes. For a day or two, she would have said that she was approaching her situation as normally as she, as anyone, could in the circumstances. She would have said that while, yes, of course, losing her lover in this bewildering way, and then of course being menaced by those terrifying figures, was horrendous, sometimes horrendous things did happen.

Marge stopped telling herself that when, after a day then another day, she did not go to the police to tell them of her encounter. Because-and here it became difficult to find words. Because something was different in the world.

Those police. They had been keen to get answers from her, fascinated in her as a specimen, but she had felt not a scrap of personal concern from any of them. It was obvious that they had an urgent task to do. She was also, she realised, pretty certain that task had nothing to do with keeping her safe.

What was all this? What the hell What the hell, she thought, is going on? is going on?

She felt caught up, as if in fabric getting stretched. Work came through a filter. At home, nothing was working quite right. The water when it came from her taps spattered, interrupted by air bubbles. The wind seemed determined to slap her walls and windows worse than usual. At night her television reception was bad, and the streetlamp outside her house went on and off, ridiculously bust and imperfect.

Marginalia spent more than one evening walking from sofa to window, sofa to window, and looking out, as if Leon-or Billy, who appeared more than once in these, what were they, reveries-might be just outside, leaning on the lamppost, waiting. But there were only the passersby, the night-light of the nearby grocery, and the lamp unleaned-on.