Vurt 3 - Automated Alice (18 page)

Alice quickly removed the eleven jigsaw pieces from her pinafore pocket, then proceeded to slot them into place in the mouldy old jigsaw puzzle of London Zoo: the termite into the Insect House; the badger in the Badger House; the snake in the Reptile House; the chicken into the Hen House; the zebra into the Mammal House; the snail into the Gastropod House; the cat into the Feline House; the fish into the Aquarium; the crow into the Aviary; the spider into the Arachnid House; the parrot also into the Aviary. At the adding of that piece, Whippoorwill fluttered back into his cage. Eleven creatures were now feeling quite at home, but still the twelfth jigsaw piece was missing.

“Oh where can that final elusive piece be?” Alice cried whilst searching all over the room for it. “It must be here somewhere! Help me find it, Celia!”

Celia had her head stuck in the clock's case, saying, “I'm doing my best, Alice.” Then she popped back out: “But all I've found up to now is this.” She was clutching the very first feather that Whippoorwill had dropped in his flight to the future.

“That's no use,” replied Alice. “Quickly! Keep searching.”

“Four minutes to two, Alice,” whispered the clock.

“Oh dear!” cried Alice. “The jigsaw piece must be somewhere! Perhaps it's fallen down the sofa cushions?” Imagine her surprise to find that three identical old and wizened women were sitting on the sofa! So covered in dust and cobwebs they were, and so ancient and withered, that Alice had thought them merely part of the furniture until then! “And who are you three”?" she demanded.

“We are the tripletted daughters of Ermintrude. . .” they answered all of a piece.

“My name is Dorothy. . .” the first woman said.

“My name also is Dorothy. . .” the second added.

“My name also and also is Dorothy. . .” completed the third.

“So you're the answer to my two o'clock writing lesson!” said Alice. “You three are the Dot and the Dot and the Dot of an ellipsis!”

“That is correct. . .” answered the three Dots all together. “We are the Ellipsisters. . . and you must be Alice. . .” But they were talking to Celia!

“I'm Alice!” corrected Alice. “That is Celia.”

“We didn't realize you had a twin sister, Alice. . .” the three women said.

“And I didn't realize that you three Dorothys would still be here,” replied Alice. “Why have you let this house get into such a state?”

“Time slowed to a standstill for us since you vanished, Alice. . . We never married, you know. . .”

“Three minutes to two, Alice,” whispered the clock, and then there was a sudden, furious banging on the front door!

“Oh no!” screamed Alice. “It's Mrs Minus trying to get in!” added Celia.

It was all too much for Alice. “I'll never find the final jigsaw piece now!” she snuffled.

“But dear Alice,” the three Dorothys tripletted in tandem, “you are the final jigsaw piece. . .”

“But that's impossible!” Alice sobbed. “I'm a girl, not a piece in a puzzle!”

“I think they might be right, Alice,” said Celia.

Alice ran to the breakfast table. There was the dusty old jigsaw picture with its little crooked hole where the last piece was missing. Alice saw that the hole wasn't actually inside one of the various animal cages; it was actually a hole in the pathways between the cages; the pathways where the visitors could wander. In fact the hole was missing from a young girl's head! And the girl had on a red pinafore! “Well I suppose that might be me,” said Alice, “but I would never fit in such a tiny opening! Especially with Celia!”

“I'm not coming with you, Alice,” said Celia.

“Of course you're coming with me!” said Alice.

“I'm afraid I didn't eat the radishes, Alice. But the truth is. . . I rather like living in the future.” Celia stuck Whippoorwill's lost feather in her hair, as she said this. “The future is my proper home.”

“Celia!” cried Alice, as the clock whispered, “Two minutes to two, Alice!”

“Alice!” shouted Mrs Minus as she whipped her scaly tail at the front door of the house. Everything was happening all at once!

Celia suddenly said to Alice, “Shall we open the cupboard in my left-hand-side thigh?”

“The one TO BE OPENED IN AN EXTREME EMERGENCY ONLY?”

“That's the one, Alice.”

So Alice opened up the tiny door in Celia's thigh: inside, she found only a small lead ball labelled with the words SHOOT ME. “Shoot me from what?” asked Alice. At which question, Celia unbuttoned her pinafore.

“One minute to two, Alice!” tick-tocked the clock, gaining a frightful pace!

The front door was being smashed down into firewood! “Mrs Minus has broken through!” cried Alice.

“Stay calm, my sister. Open me up, please.” Celia had revealed her bare, porcelain stomach, in the middle of which nestled another small door. Alice opened this cupboard; a flintlock pistol was lodged within Celia's inner workings. FIRE ME said its label.

“I can't use that,” said Alice.

“Pablo Ogden has built this gun into my body for a purpose,” answered Celia. “Hand me the shot.”

Alice gave the lead ball to Celia. Just then, Mrs Minus burst into the breakfast room! She had by now turned more or less fully into a giant snake! Only a single human hand extended from her reptilian body, and within its grip rested her own pistol. Mrs Minus aimed the pistol directly at Alice's heart. “You will pay for your treachery, my young girl!” she hissed, whilst beginning to squeeze on the trigger.

Time became stilled for a single second.

And then, how the Snakewoman screamed! Alice saw that a certain invisible but sharply clawed cat had pounced upon Mrs Minus.

“My sweet Quark!” Alice whispered. “You have come to save me!” But Mrs Minus threw off the invisible cat, and raised her gun once again.

“It's two o'clock, Alice!” whispered the grandfather clock. “Time to go home!” And then it donged a first ding!

And by that first ding, Celia had managed to load her own pistol.

Mrs Minus squeezed her trigger, but --

Celia squeezed hers first!

Mrs Minus was splatter-snaked all over the walls!

Alice climbed onto the dining table, and jumped down into the remaining jigsaw hole. . .

And in the time it takes to turn over the page of a book. . .

. . . the clock dinged its second dong, and Alice landed with a soft flump! into her armchair, and then she awoke with a sudden start.

“Oh what a curious dream!” Alice said to herself. “Why, it was almost real!” She rubbed at her eyes and then looked at the grandfather clock in the corner; it was more or less, exactly two o'clock. “I must have fallen asleep in the armchair!” Alice got up and moved to the window; the rain was lashing against the glass and the lightning was flashing over the gravestones in the cemetery.

“Squawk, squawk!” screeched Whippoorwill from his cage.

Suddenly, the dining-room door was flung open. “What time do you call this, Alice?” bellowed Great Aunt Ermintrude from the doorway.

“I call it the past time,” answered Alice (without really knowing why).

“A pastime!” screamed her Great Aunt. “Do you really think that life is a game, Alice? Well, let me tell you: life is a lesson to be hard-earned! I don't suppose you've finished your latest lesson, about the correct usage of an ellipsis?”

“An ellipsis, Great Aunt Ermintrude,” began Alice quite confidently, “is a series of three dots at the end of an unfinished sentence, which implies a certain omittance of words, a certain lingering doubt. . .”

“Very good, Alice!” responded Great Aunt Ermintrude (with surprise). “But I'm afraid there's no such word as omittance. There's an admittance, or else there's an omission, but there's no such word between the two! We have a great deal of work yet to do on your grammar!” Ermintrude then walked over to the breakfast table. “I see that you've finished your jigsaw of London Zoo. So you managed to find the missing pieces. . .?”

“Yes, I managed it,” answered Alice, quietly. “Oh my goodness! There's a hideous white ant crawling over the jigsaw. . .”

“It's not an ant, Great Aunt,” Alice tried to say, “it's a termite.”

“I don't care if it's a prize peacock! I won't allow such vermin in my house!” And before Alice could do anything at all, her Great Aunt had cruelly squashed the creature under her fingers! “And where is the new doll that I bought you?” her Great Aunt then asked.

“She is lost, Great Aunt.”

“You mean to say that you don't know where the doll is?”

“Oh, I know where she is, Great Aunt.”

“May I suggest then, Alice, that you retrieve her?”

“Oh I will, Great Aunt,” said Alice in a mutter, “one of these days. . .”

“Stop muttering, you naughty little girl!” screeched Ermintrude. “It's very rude! Now it's time for today's writing lesson. Pencils out! Books open! Today we shall learn all about the differences between the past and the present tenses.”

“I know all about those differences!” Alice said (strictly to herself, of course!).

*           *           *          *

*           *          *

*           *           *          *

And thus began the next lesson, and the next one after that, and then the next one after that: all the lessons of life that Alice had to learn, both in Manchester and then in the south of England upon her return, and then throughout the rest of her long life. Alice came to realize that the whole of life could be one long continuous hard lesson. (If you weren't careful, that is!) But Alice had also come to realize that life could be a continuous dream, and as Alice got older and older and older, she never forgot to let a little soft dream into her hard lessons. During the more miserable of her moods, she would find herself revisiting the memories of her three journeys into dreamland: the wonder of life, the mirror of life, the future of life.

This story should rightfully end upon this very moment.

But I must add that (just occasionally) Alice would feel a terrible itching feeling inside her skull. Why, it was as though a thousand termites were running hither and thither with tickling messages! And sometimes (just sometimes) Alice would feel a certain stiffness in her limbs, as though her legs and arms were not quite fleshy enough. Often she would find her limbs doing things that she had not quite willed them to do! At those moments Alice really did think that her limbs had a life of their own, as though her limbs were automated appendages.

“Perhaps, in the turmoil of those last moments in the future,” Alice would sometimes whisper to herself, “I was confused with Celia? Perhaps it was the Automated Alice that really came back to the past?”

And until the very end of her God-given days, my dear, sweet Alice was unable to decide for certain if she was really real, or else really imaginary. . .

Which do you think she was?

All along the stream of time and tears

  Under skies where sunlight fades to breath,

Through hours and minutes, weeks and years,

  Onwards gliding, we moor at last in death.

My name is like the sun in apogee,

  Ascending only to wane and wax the moon.

To all who read this rhyme of apology;

  Excuse this waning of Carroll by Noon.

Dodo Dodgson, long since died, transported

  Alice to the realms of tale and feather.

Life is but a dream that time has courted;

  In dreamings a girl could live forever.

Conclude this tale, my Alice in Auto;

  Emerge to life an Alice immortal.

About the Author

Acknowledged as one of the most exciting British SF authors writing today, Jeff Noon is the author of Vurt, which won the 1994 Arthur C. Clarke Award, Pollen, Automated Alice and Nymphomation. Jeff Noon also won the John W. Campbell Award for Best New Writer in 1995. His latest novel, Pixel Juice, is now available as a Doubleday hardback. He lives in Manchester.

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AUTOMATED ALICE

A CORGI BOOK: 0 552 14478 9

Originally published in Great Britain by Doubleday,

a division of Transworld Publishers

PRINTING HISTORY

Doubleday edition published 1996

Corgi edition published 1997

3 5 7 9 10 8 6 4 2

Copyright © Jeff Noon 1996

Illustrations copyright © Harry Trumbore.

The right of Jeff Noon to be identified as the author of this work

has been asserted in accordance with sections 77 and 78

of the Copyright Designs and Patents Act 1988.

All the characters in this book are fictitious,

and any resemblance to actual persons, living

or dead, is purely coincidental.

Condition of Sale

This book is sold subject to the condition that it shall not, by way of

trade or otherwise, be lent, re-sold, hired out or otherwise circulated

without the publisher's prior consent in any form of binding or cover

other than that in which it is published and without a similar condition

including this condition being imposed on the subsequent purchaser.

Typeset in 11/15pt Sabon by Falcon Oast Graphic Art.

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Reproduced, printed and bound in Great Britain by

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