The Anubis Gates

“Oh, aye, lad, us and half the business district. He’s at The Gimli’s Perch in Lombard Street, disgracefully drunk—or crazy,” he allowed, nodding to his companion, “and buying round after round of drinks for the house.”

“I may have time to go and partake,” said Doyle with a smile. “Has either of you a watch?”

One of the men fished a gold turnip from his waistcoat and eyed it. “Half past ten.”

“Thank you.” Doyle hurried out of the shop. An hour and a half yet before I meet Benner, he thought; that’s plenty of time to check out this Byron impostor and try to guess what kind of dodge he’s working. Byron’s not a bad identity for some con artist to assume, he reflected, for the real Byron is still fairly unknown in 1810—it’ll be the publication of Childe Harold’s Pilgrimage, two years from now, that’ll make him famous—and so the man in the street wouldn’t know that Byron is touring Greece and Turkey right now. But what kind of dodge is so big that it’s worth “flinging about” gold sovereigns just to set it up?

He made his way south to Lombard Street, and had no difficulty picking out The Gimli’s Perch—it was the tavern with a crowd of people blocking the street in front of it. Doyle sprinted up to it and tried to see over the heads of the crowd.

“Back off, now. Jack,” growled a fat man beside him. “You’ll take your turn like everybody else.”

Doyle apologized and edged around to one of the windows and, cupping his hands around his eyes, peered inside.

The tavern was packed, and for half a minute all Doyle could see was clamoring drinkers, all busy at either draining filled cups or waving empty ones at the harried waiters and bartenders; then through a chance parting in the crowd he saw a dark, curly-haired young man limp up to the bar and smilingly drop a stack of coins onto the polished surface. A cheer went up that Doyle could hear right through the thick glass, and the young man was lost to view behind a forest of waving arms.

Doyle fought his way back to the street and leaned against a lamppost. Though the surface of his mind was calm, he could feel a chilly pressure expanding deep within him, and he knew that when it nosed like a surfacing submarine up into his consciousness it would be recognizable as panic—so he tried to talk it down. Byron is in Turkey or Greece somewhere, he told himself firmly, and it’s only a coincidence that this lad looked—so damnably!—like all the portraits of him. And either this impostor is coincidentally lame too, or he so thoroughly studied his model that he’s added the detail of Byron’s lameness… even though nearly no one in 1810 would know to expect it. But how can I explain the moustache? Byron did grow a moustache when he was abroad—you can see it in the Phillips portrait—but even if an impersonator could somehow know that, he’d hardly use it in deceiving people who, if they’d seen the original Byron at all, had seen him clean-shaven. And if the moustache is just an oversight, something the impersonator didn’t know Byron lacked when last seen in England, then why the accurate detail of the limp?

The panic, or whatever it was, was still building. What if that is Byron, he thought, and he isn’t in Greece at all, as history will claim? What the hell is going on? Ashbless is supposed to be here but isn’t, and Byron isn’t supposed to be but is. Did Darrow shoot us back to some alternate 1810, from which history will develop differently?

He was feeling dizzy, and glad of the support of the lamppost, but he knew he had to get into that tavern and find out whether or not that young man was the real Byron or not. He pushed himself out onto the sidewalk and took a couple of steps and he suddenly realized that the fear building up within him was too primal and powerful to be caused by something as abstract as the question of what time stream he was in. Something was happening to him, something his conscious mind couldn’t sense, but which was churning up his sub-conscious like a bomb detonated at the bottom of a well.

The crowd and the building in front of him suddenly lost all their depth and most of their color and clear focus, so that he seemed to be looking at an impressionist painting of the scene done only in shades of yellow and brown. And someone’s snapped the volume knob down, he thought.

Just before light and sound flickered away altogether and, unsupported now, he fell into unconsciousness like a man falling through the trap door of a gallows, he had an instant in which to wonder if this was how it felt to die.

* * *

Sometimes hopping, but more often crawling on one foot and two hands like a half-stomped cockroach because his left leg had a new, grating joint in it, Doyle scuttled retching and gasping across the rain-slick asphalt, not even seeing the oncoming cars bow their front ends down close to the pavement as their brakes took hold and the tires began barking and squealing.