books/marsh/content/a-well-trained-eye.tex

The rain against old glass panes and the sways and bumps of the car on the rails ready the air for conjurations. Lucy sits on the bench 6th from the back, on the right side, a sketchbook open across her knees. Today she's trying charcoal. Feels right with what happened a week ago.

This lonely train through the valley and the mountain is her chapel and now her hermitage in the wake of the bombing. There are plenty of churches and other religious retreats across the System if she wanted, but none of them have ever felt a fit for this work. She thought about skipping this week, and told herself if the train wasn't running, she'd pick up again later, but even with no passengers save her, the engine pulls its empty tail along the countryside. So, as she has done every week for the past 250 years, she has gone to her locker in the station, pulled out a fresh sketchbook, and boarded.

Lucy conjures in her memory their faces.

She can only recall 63 of the 68. It is true that the System means she cannot forget anything now, but it merely preserves in amber what the memory held at the moment of upload. It cannot restore the faces she lost to time. Even a number of the faces she recalls are not complete memories. Those she has filled in over decades, extrapolating or iterating on them until they are whole enough for her to feel it completes them. Over 260 years, her hands have become capable of incredible art, both through endless repetition and boundless study. When she is not here in her railcar-sized confession booth, she enjoys a life as an artist, known for bittersweet paintings and sculptures, happy to teach and happier to learn, a lover of life and a bringer of joy.

Of the five lost, two faces she cannot recall because they were unexpected complications on a job. One face was sent to kill her, but wasn't good enough. One face jumped her in an alley to rob her, or perhaps worse, but couldn't have picked a worse target. She doesn't recall her first kill's face, because there was a bag over his head and a gun loaded with both bullets and an irreversible choice was pushed into her hand.

The 69th face is the most vivid to her, but Lucy has never felt the need to draw her. After all, she let that last one go, and every morning after she wakes, Lucia Marchetti hopes that poor girl listened to her and got far far away. She hopes that woman lived a full life and that the family never caught up.

The clack-clack of the wheels on the track sets a rhythm for her vigil, her penance. The weather in the sim varies based on algorithms and set patterns both, stable enough to make maintenance easy, unpredictable enough to mimic weather phys-side. Today the rain is quite heavy. She welcomes it. The inside is dry, but the wood of the train car has a slight moist smell, a beautiful attention to detail. The lights in the car flicker a little more than usual, the train is a bit slower than usual but the ride is if anything less smooth. She likes the rougher rides, because it adds a challenge to her work, one she is well accustomed to after centuries but nonetheless welcomes. The rain fills in the silence where passengers would chat and shuffle and cough and rustle newspapers and make all those sounds living people make. She wonders how many of the usual riders died in the bomb, and how many are just afraid to go out, unsure, mourning, or just needing time alone.

Some art critics and fans throughout the System have pointed out that the left eyes in many of her portraits have fantastical details, often drawn as flowers, or the root of vines, or sunsets woven into faces, or in her sculptures become caves, grottos, tidal pools, library alcoves, hidden urban alleys. Many speculate on the symbolism of that, and her favorite theory is the one that she lost an eye to cancer, and her obsession with art and color is due to the way cancer distorted her vision, and that her art was a reclamation of what it had taken from her, a final spite to the disease that forced her to upload. Even though it was wrong it was very romantic, and even now she did very little to fight it, and on occasion coyly encouraged it.

A bullet through the left eye had been her professional calling card. Left hand on the top of the head, barrel of the silencer to the eyelid. She had taken so much from the world through left eyes, and she put back as much life and beauty through them now as she could. It would never be enough. More than a few of the faces she could only conjure with the bloody hole in a lifeless head, but she has never rendered it in sketches. She recreates and restores them as they were before, using decades of study to fill in what she destroyed. Even as styles and methods and tools change in her hands, she gives the dead that. Owes them that. The only real Liberty she takes is with the hair above the faces, refusing to give hair any semblance of being pushed or held down by anything.

The piece of charcoal snaps in her hand, and she realizes there are tears staining the current sketch. She wipes her eyes, takes another piece of charcoal from her satchel.

The bomb dwells on her mind. The Century Bomb, detonated at midnight, the start of the 25th century. 2400-01-01. 276+1 systime. In a digital world so removed from death, suddenly a toll on an incomprehensible level. Mechanically, it was a contraproprioceptive virus, launched at an astounding scale, wiping 1\% of the System's current instance total by interrupting their code irreversibly. Functionally, it was a bomb that killed billions and scared shitless a trillion more. She wonders why they did it. She doesn't want to know, but she wonders. She wonders if it was just a job. She wonders if it wasn't. She wonders if they can remember all the faces of the people they killed. She wonders if they died in the bomb themselves. She hopes they did. She snaps another piece of charcoal, but if there were tears, they burned off on the heat in her face. It takes several breaths to unclench her fist, and she grabs another piece of charcoal.

This is the longest stretch of the track. It's between the third and fourth stops, and it's where she starts sketching every time. Some weeks, depending on her mood or free time, she waits for the train to finish looping through the five stops and the station before picking up in her usual place. This time she doesn't wait. The calm she needs comes as soon as the engine lurches into motion from the station, and she lets the sounds and motions balm her weary heart.

Charcoal means no color, but it lets her play with shading techniques. The more recent the face, the more realistic it becomes on the page, whereas older faces come out impressionistic, sketchier, or strikingly simple. Once she did them in chronological order. Then by age, alphabetical by first name, then last, then by height or by estimated weight, by location, by time it took to complete that dirty work, until now she's run out of categories and just lets them queue their own order, double checking periodically who is left and who isn't.

She feels a low impulse to include some of the regular passengers who are missing today, but cannot bring herself to break 250 years of rite and ritual. She decides tomorrow she will come back with separate sketchbooks or maybe some other medium, sit in a different place on the train, and sketch as many of the regulars as she can remember. Those she will not keep hidden away, and those she will let her sys-side self take care of.

Most people would send a separate fork for this, she figures. She always leaves a fork at her home sim, and when she gets back to the studio that fork will merge down to her. It is important to her that this continuous (as much as one can be here) version of herself be the penitent one. She thinks other people would understand that, it's not something that really needs explaining, but she has never told anyone directly what she does, and those who know about her train rides know better than to ask.

She wonders how many of them survived, and how many of them died or quit. She wonders how many will quit or crash from the grief. She chides herself for getting distracted. She sketches.

She long ago learned the art of faking motions. She trained herself to glance up and stare at random points in the room, usually where other passengers are, to give the illusion she is not doing this from memory. It is a performance for the comfort of others, and the comfortable ask less questions. She almost always got left alone anyway. She wonders how she must look from the outside. Short, black hair, in a layered bob that tapers into her neck, pale skin, wispy and thin. Her outfit for the train is always the same, a plain, thin white blouse with short sleeves and dark blue buttons down the middle, a pair of dark blue slacks with a very high waist, a tasteful pair of flats, tented teal triangles for earrings. The train is based on its early middle twentieth century ancestors, and she commits fully to the part as well. She never asks anyone if she pulls it off, or asks for a picture.

It takes her a while to notice there is someone else in the railcar with her.

One of those upward glancing motions registers some bright color on her left, but it takes four more motions before it actually clicks that it's an arm in a jacket. She stops mid-sketch and turns to the other passenger.

Across the aisle from her seat is a bench against the left wall of the train, and despite years of riding she cannot say for sure if the bench was always present or a new addition. Other than that it does not stand out, as all the upholstery, cushions, wood, metal, and design choices fit perfectly with the rest of the compartment. It might have been there the whole time. It might have appeared there seconds ago. It alarms her how little her memory has charted the left side of the aisle.

The other passenger is a woman who is also a skunk. She is tall, broad-shouldered, portly, covered in earthy green fur, with a mess of curly hair that is swept to the side and bleached blond. She wears an orange canvas bomber jacket, a beat up white tank top, grayish cargo pants, and heavy boots. Her arms are spread out on the back of the bench. One of her legs is crossed over the other, bouncing on it. She is grinning. Something about the fur pattern near the skunk's left eye unsettles Lucy, but it is obscured by the dark round sunglasses the skunk is wearing. How the skunk's tail seems to be at an impossible angle to her body while sitting down Lucy chalks up to the benefits of the System.

The skunk's grin widens when her presence is acknowledged. Lucy looks at her but lets the other woman make the first move. The skunk gladly obliges. ``You know, it took me longer than I'd like to admit to realize you haven't been drawing other passengers.''

Lucy chews her tongue before responding, turning back to her work but not letting the stranger from her sight. ``Who's to say I wasn't before?''

The skunk shrugs. ``It's possible, but I've seen you here every week for decades. It didn't click until about 6 years ago that the styles change but the faces don't.''

A regular, then. There are other cars, and Lucia only rides the train once a week. So many different bodies and species exist within the System, and with the weird prevalence of skunks among that, not recalling this one's face didn't feel too strange. Old instincts warn her that her visitor could be banking on that, but she dismisses it with a stroke on the page.

Lucy sighs. ``Well noticed. What else have you observed?''

The skunk tilts her head and chews her tongue a little, tapping a claw. ``More a hunch than an observation, but you don't draw the living.''

``Correct again. Not here, anyway. Elsewhere I do not restrain myself so.''

The skunk gives a bobbing nod. ``People you lost?''

Lucia speaks plainly. ``People I killed.''

The test is laid. How will the examinee respond? Fear? Nervous laughter? Anger?

The skunk raises an eyebrow. ``Appearances can be deceiving, but you don't strike me as a soldier.''

``Metaphorically, maybe, but never literally.''

The skunk's claws tighten into the wood of the bench at either end of her arms. ``Not a cop, I hope?''

Now there's a measure of character. Lucia genuinely laughs, and the skunk's grips relax. There's that bobbing nod again, and the mephit says, ``So, ah, contract work.''

Lucy cannot decide if the animal's cavalier nature is charming or cause for alarm. Her heart wants to believe the former. A gut trained on a former life tells her the latter. Both are anxious to see how this plays out. ``I would call it familial obligations, but they did pay me for it, and friends of the family would throw me work now and again as well.'' She pauses. ``You know how family can be.''

The skunk gives a sad smirk. ``Half of mine disowned me for being queer. Don't think it's quite the same but I can sympathize, at least.''

Lucy stops sketching for a second, and makes eye contact with the skunk, or as best she can through the other's sunglasses. Even without the eyes, there's a topography of emotion in the snout and cheeks and brow. That pattern of fur around her left eye, it's rough. Aesthetically it interrupts the face. An interesting choice. Panic surges just a little again.

Lucia blinks and shakes her head, turning back to her sketch. ``Well, good thing we both got out.''

The skunk looks out the window behind her. ``And yet the past never stops trailing behind us here. It's like this train, never moving forward, on an endless loop that carries us in circles. Even if we step off at a stop, it will be back around to pick us up again.''

Lucy sees no reason to add anything.

The skunk turns back towards her. ``These pieces you do fascinate me. They all lack your signature.''

``What need to autograph them? They are for me and the dead. Other than the prying eyes of those like you who see my process, they are never shared.''

``That is not the signature I mean.''

She tenses. ``Ah, a stylistic one, then. Do you mean to say I am an artist beyond these sketches? Who do you think I might be?''

``I know exactly who you are.''

Everything goes quiet and the light dims. Somewhere in the conversation Lucy missed the whistle for the tunnel, and as the trains slips into the darkness the driving rain no longer fills silence. Even the wheel-clacks sound quieter. The bulbs along either side of the car have dimmed, and the one on the skunk's right has gone out completely. The skunk has taken off her sunglasses, and is wiping the lenses in the cotton of her tank top.

It is not a pattern in her fur, Lucia realizes. It is a scar. A scar that starts north of the brow, runs most of the way down her cheek, and in the middle, crosses her eye. The left eye itself is clouded over, with only a hint of the pupil beneath. The other eye is a striking hazel, untouched.

A million possibilities run through Lucia's head. This is someone here to blackmail her. The family finally sent an assassin. Somehow one of her targets survived and has found her for revenge. The System isn't real, and this is Purgatory, or worse, Hell, luring her into a false sense of security to strengthen her damnation. All of these could be true at once. She does not know. She finds she cannot quit, or leave the sim, or even move, paralyzed in pure fear, an emotion she has not felt in centuries.

Meanwhile, the skunk is saying, ``You are Lucia Marchetti, renowned artist and sculptor. One of the most distinct in the System, in fact, and if I'm not mistaken, the unintentional pioneer of three major art movements of the last two centuries. Most intriguing is your lasting fixation on the left eye, present on almost every one of your pieces with a living thing in it. There's a lot of theories, but no one really knows why you do it. Except I think I do.''

Lucy resigns herself. 260 years was a good run. More than any of her targets got sometimes by a factor of ten. She should have trusted her gut and bailed. She should have run. She shouldn't have said so much. But she did, and she tries to make peace with having to face the music. It's not really working, but she still cannot bring herself to flee. They say that no one can force you to stay in a sim, that it is impossible to truly hold anyone anywhere in the System against their will, but none of them ever account for the pressure one can exert on oneself. So, if this is the end, she decides, even if she cannot accept it, she will not fight it. ``You're here to kill me, aren't you?''

The skunk laughs. ``Kill you? Why would I want to kill you?'' She holds her sunglasses up towards one of the light fixtures, checking the lens for smudges. ``You might be the only person on the System who understands me.''

Lucia has the brief vivid image in her mind of an engraved lighter and a carousel tearing itself apart. The skunk across from her must be some sort of fanatic, perhaps another professional killer, or worse, unprofessional. Someone unmoored from reality, perhaps. Madness is more prevalent in the System than anyone admits. Lucy decides she would have preferred if this stranger was here to kill her, then chides herself for this self-destructiveness.

Still the skunk speaks, and taps next to her damaged eye. ``For most of my life phys-side, I would now and again come down with migraines that always started behind my eye. Most of them were mild, but some of them would put me down for a whole day. Once or twice I even had visual aberrations, and I couldn't even see out of it. It'd be like static, visual white noise. For some reason, after I forked off my root instance, I started having the migraines again sys-side. The pressure is there, and the hurt is sometimes there, but now I hallucinate. Vividly, and only through that eye. My right eye is locked on reality, and the left eye ranges from minor distortions to things that even our more adventurous chemical days never came close to. I've never met anyone else that gets migraines here like mine. But then, I see your work, and I finally think for a second that maybe I'm not alone.''

``I'm not totally convinced you are not here to kill me.''

The mephit shakes her head. ``I swear I'm not. I mean, you've been here---the System, I should say---for a long time?''

``Centuries.''

``When did you upload?''

``Why should I tell you?''

``So I can prove I'm not sent by your `family'. Just want to know the year.''

Lucia mulls it over before saying it. ``2140.''

``Which was 31 years before my root instance was even born.''

``Doesn't mean that you aren't---''

``You have to believe me! You have to, and you have to experience something like I do. It has to be the reason!'' The skunk's face is a patchwork of frustration and desperate need.

``I never in my life before this place or after had a single headache.''

The stranger is on the verge of tears. ``Then why?''

``It's where I put the bullets.''

The skunk's eyes go wide, and the rain slams against the rail car as the train leaves the tunnel again.

For the first time in all her years of penance, Lucia wishes she could stop drawing these faces, and instead in this moment sketch the creature across from her. The surprise in the mephit's features decays, like a flashbulb in a camera after it's gone off in those ancient movies the Don loved to watch. Lucy wants to capture this moment as hope withers and understanding winds vines slowly into the visage of the woman. She can see her piece together what that means, why these faces must never bear that mark, a million questions banished to the aether with one simple, ugly, answer. It is Lucia's opinion that art is better left unexplained, and this is why. If it weren't for the storm outside she would have heard the poor thing's heart break. There is a biting of a lip, there are tears, there is a bobbing nod of understanding, and a single, deep sob. If she could raise a hand, a brush, a chisel, these minutes would turn into her finest work, she would capture the death of a hero as seen through a mirror. She mourns it as the emotions pass, as the traces of them evaporate off the skunk's muzzle like morning mist in the sun. To capture what she saw in the moment would be a blasphemous vanity. She tears herself away from staring, and continues her sketches.

It is a while before either can speak. The skunk speaks first. ``I think knowing that, somehow, makes your art\ldots more beautiful to me?''

Lucy snorts. ``That's unfortunate.''

``Do you regret it?''

She rolls her eyes at this. ``No, I have sat on this train every week for 250 years drawing the dead because I have nothing better to do. What a stupid question.''

``Did you upload because you got tired of killing?''

``I uploaded because I was tired of being a man.'' She looks up to see that the skunk has put back on her sunglasses, but they cannot hide her surprise again. Lucia sets down the notebook and the charcoal on the seat next to herself. ``The family gave me an address and a man's name. They did not tell me what he had done, usually they did not, but they spoke with such vitriol I assumed his trespasses were high. The family back then overlooked my dalliances with other men, as men were easy to pay off, and I suspect I was not the only one in the family `wandering from the path' in that way. Something about the venom in the request made me wonder if someone in the family had been spurned, and I was cleaning up loose ends. No matter. I had given up long ago on caring about my targets. A job is a job, and the family always found me work.

``I broke into the apartment, and in the dim light of the living room was the most beautiful woman I have ever seen. She was like polished stone, you could tell she was made more beautiful by the things she endured. It took me a moment to remember what I was even there for, and I wondered again if this wasn't business but personal affairs. She noticed me, and panicked, pulling a blanket to herself even though she was clothed. I did not yell, I did not shout, I did not strike in my work. I used a level voice, moved calmly and deliberately, and made no sudden movements. People feared that more than an angry man, and it meant there was a lot less cleanup involved. I did not hide that I had a gun. She asked me who I was, and I said I was strictly here on business, and she didn't need to know. She said she didn't trust me, and I told her very simply that if I intended to hurt I would not have waited for her to see me. I told her that all she needed to do was answer me a question, and then she could leave safely. As a show of faith, I stepped out from between her and the door. She weighed her options. She was taller than me, a bit stockier, but I was a man with a gun in my hands. She relented, and with a sigh told me to ask. I told her all I needed to know was where I could find my target. I told her the name.

``Perhaps you are smart enough to know where this is going, but I mistook her panic for loyalty. She became defensive, refusing to give any information and demanding of me explanations. I told her she need not be loyal to him again and again, that it was not worth her life to defend him, and that all I needed to know is where he was. She offered bribes. She offered violence. She offered a great many things I dare not say. I do not know how long our exchange went exactly. Easily 15 minutes, likely more. I grew impatient and finally asked her why his life was worth so much more than hers, and that regardless of what happened to her I had a job and that man had to die.

``She wailed, falling to the floor, and told me with absolute despair that she was the man I was looking for. Only then do I begin to inspect my surroundings carefully. I take notice of the decorations, the aesthetic choices, the recurring theme of rebirth. There was a jacket, hung on the back of a dining table chair, with a flag on the shoulder, a flag of stripes and three colors. Such a jacket was not uncommon among younger generations of my country, but the flag was not the flag of Italia of old, nor any of the new flags of the many states my homeland became under the Western Federation. No, this flag is the standard of a country with no land, abstract territory, yet one I---and, I highly suspect, you as well---reside within. Three colors, yes, but the stripes of the flag are horizontal, not vertical. Five stripes, not three.

``No doubt you have heard the tales of old about those Lost in the sims, in the days before the System. In that moment, like them, I became lost within myself. I was not old then, but I had lived a very long life. I tumbled down through memories, emotions, places, times, lovers, imaginations. This woman before me, born something else, but made beautiful by change, was she as me? Pulled unwilling into the affairs of the family? Forced into shapes preordained, melted down and poured into a mold, cracked upon the altar of tradition, to fit needs or to ornament the mansion walls? Did she break the mold, or melt again to make herself anew? Could I do the same? My lovers were all overlooked or bought off, but in the eyes of those who shaped me, I was property who could buy a place at the table in time but never my own freedom. This Angel before me was an epiphany, and to the gospel of my employers I fell apostate in a moment. In my head and only in my head I begged mercy and forgiveness from her, that I might forever fall to her feet and serve to atone for my trespasses. She was living proof that my resignation to my fate was an act of cowardice, that for years I had been lying to myself. A thousand versions of myself in my head ran to every corner of my mind and pulled together a new self, an eternity of hands falling over themselves to construct some possible way to let this woman go without getting both her and myself killed. No markers lay for how long I was lost in my head, and when I pulled back to the reality before me, I have no idea if I had been gone a second or an hour. The woman before me still wept. I made up my mind. It was made from the moment I saw her jacket.

``I told her to look at me. She did. I told her the man I had come to kill was clearly already dead. She stared at me for a long time. I asked her if her identifications had her old name or her new one on them, and when she said new I cemented a plan. I told her I had no intention of killing her, but that I could not promise the same of my employers. I set my gun on the table. I sorted out for her an impressive sum of money that I kept on my person, as even as late as the 2130s hard currency opened far more doors than brute force. I knelt down beside her on the floor. I pressed into her hands a marker, something that would grant her safe passage anywhere she showed it, an agreement of families and organizations that preceded us by centuries. I told her where to go, what places my family would never tread, and what she needed to say to get there. I told her to wait 20 minutes after I left, pack as little as she could, and leave immediately. She sat there stunned, and only as I got to the door did it grip her that this was real.

``She asked me why I was helping her. I could not lie. I told her that killing her would make her a man again and I could not stand to take such beauty from the world. Manhood is not a problem if it is choice, but I was never given one, and I would not force anyone to reconsider their own decision. I do not know if she understood me, but she nodded. As I departed, she asked if she would see me again. I told her no, I was already as dead as the man I had been sent to kill, and left before she could delay me further.

``I do not know what happened to her. I don't know what happened to the family. I do not know what happened to the cats left in my apartment. I do not even know if the sun set the next night. I moved quickly, using the weight my name had gathered over the years to get me quick passage to Roma. Uploading was still new then, expensive and still a mystery to most, but Roma had an Ansible clinic. I arrived in the city just before dawn, and caught the staff as they arrived for the morning. I drained my accounts and gave them each enough to fund the clinic for a year, to upload me and to strike my name from any records. They asked me what to do with my body. I told them to burn it and toss the ashes into the Tiber. When they objected, I handed them even more money, and finally they gave way.''

Lucia looks up, and out over the countryside rolling by the windows of the train car. How far, she wonders, does it go? Does it end a small ways from the train? Are the mountains on the other side of this valley merely a trick of sensoria? Or has someone rendered them, crafting the walls of stone as they rise from low earth, etching little runs and outcroppings for a thousand meters upward? Does the sim stretch beyond the mountains, an uncanny mirror of the alps that she had traveled phys-side often enough, mostly for business, only very rarely for pleasure? She knows most of the stops are fleshed out, but she has no idea if all the land in between them is. She briefly sees the faint orange reflection of the skunk's jacket in the window, and tries not to think about how long she might have been silent.

Still, as she speaks, it is a few moments before she turns back to the other passenger. ``There is nothing more to tell. The killer for hire died on the Ansible table. I do not miss him. I mourn those whom he took from the world. I carry them on eternally here, as I have since the first day I ever rode this train.''

The skunk smirks. ``I wonder if the riders know they're in your rolling mausoleum.''

Lucia frowns. ``It is not a mausoleum!''

The mephit's lip twitches. ``Right, my mistake, if it doesn't contain any remains, it's called a cenotaph, isn't it?''

The frown turns to a scowl. ``That is not what I mean.''

The skunk leans forward, resting her forearms upon her thighs. ``A confessional, then. Do you say your `hail marys' as we ride along these chancel rails? Quite a trick to use a train to transit the stations of the cross, but with only 6 stops instead of 14, you may find us lacking.''

Lucia turns to her, meaning to scald the other woman with a glare. ``Do not mock me. Those traditions were antiquated before I was born, much less you. I ask nothing of a god I do not believe in. So too the dead are the dead, they feel nothing. Hear nothing. Give nothing. I do this for myself, I grieve. I regret. From what authority do you speak? What right have you to judge?''

The skunk raises her paws in defense. ``I'm not judging.''

Lucia bares her teeth. ``The hell you are not. You speak harshly, think me a sinner.''

The skunk crosses her arms before herself. ``Listen, I am not in the business of \emph{salvation} or \emph{absolution}.''

``Then what, pray tell, are you in the business of?''

The other woman furrows her brow, and leans back. Then, slowly, smugly, she grins. ``\emph{Joie de vivre}.''

Lucia finds herself genuinely unsure how to respond to that, so she doesn't. On she sketches, ignoring her spectator as best she can. A stop comes and goes, the fourth, and neither debark. No one gets on either. Riders. A thread lies untraced in Lucy's mind. She pulls it.

To the skunk she says, ``You asked earlier if the riders know what I do, as if you did not number among them.''

The skunk's face isn't just grinning, there's some anticipation around the edges of it. This stranger has been waiting for this question. ``Not usually, no, not by a traditional count.''

Lucia squints. ``Yet you said before the tunnel that you have observed me here for decades.''

The skunk looks up, and taps a cheeky claw to her chin. ``Yeah, weird, I wonder how that could be?''

``Do you spy on the passengers?''

The skunk tilts her head disappointedly, and lets the silence answer for her.

``Neither then, some small animal, like a mouse or an insect living on the train.''

A shake of a head. ``Construct or instance, I'd consider them passengers, too.''

``And you observed me directly, yes?''

``This is a fun game! Yes, I have countless times.''

Lucy doesn't like this game. She hates the feeling of missing something simple. Perhaps it isn't simple. ``You\ldots you are the train we are riding in, and you have watched me all these years, and forked to something that could speak to me.''

The skunk laughs, and slaps her knees. Lucia turns red, scowling. Wiping humorous tears from her eyes, the skunk says, ``I love artists so much. Creative! Very creative, but a few problems. One: I was born after you uploaded. Two: I only forked and individuated from my root instance in 2357, and Three: the System is capable of many incredible things, but that's a little too fantastic.'' The skunk gave a little head bob. ``I guess in a metaphorical way you could say I speak for the train, but no, I'm afraid as long as I've been around in this sim, I've just been a skunk.''

Lucy looks out the window, and says aloud, ``I do not like this game.''

The skunk laughs again. ``I'm having a blast. Do you want me to tell you?''

The artist glances back only briefly, and shakes her head.

``Do you want me to give you a hint?''

Now Lucia turns to look at her, and when the skunk raises an eyebrow, she relents. ``Fine. Fine! Yes!''

The skunk slips her left paw into her jacket pocket. ``Your hint is: rider and passenger are passive roles.''

Passive? If riding a train is a passive state, what would be an active---

Lucy nearly throws her sketches to the floor, gesticulating angrily. ``You are the engineer. You drive the train.''

``Correct!'' The mephit holds up three clawed fingers on her right paw. ``Beyond maintaining the sim, I wear three hats. One is engineer. The second is stationmaster. But neither of those explain seeing you in this car, do they?''

Lucia's turn to raise an eyebrow. The skunk pulls her left paw from her jacket pocket, and holds up a ticket puncher. Lucia buries her face in her hands. ``Conductor. And now I am the asshole for not even remembering you.''

The skunk scoffs. ``I'm not hurt! Think of it this way, you and this sim have been here for 250 years. I've only been `on board' for about 35. I dug through our personnel records recently, and there have been well over 100 conductors, never mind several active at the same time. You've been focused on your work, faces change, and at some point you stopped paying attention to who was coming around to check for fares. Hell, I've met other regulars in other sims who don't recognize me right away. Same goes for the 15 years I've been stationmaster, and have you ever actually been to the engine? Did you realize it has to be crewed? I'm proud of my work whether it gets seen or not, but often it isn't.''

Lucia finally finds the other end of the thread. ``Do you own this sim?''

The smile fades from the skunk's face. ``As of a week ago, yes.''

``Was it the Century At---''

``Mr. Nguyen had been planning to retire for some time. He'd given full access controls and permissions of the Sim to me a few months back, and after 275 years, he planned to retire at midnight, right as the century rolled over.'' The furred woman bit her lip and looked away. ``I\ldots I don't know if he died in the Attack. The way he was cleaning up his affairs by the end he might have quit the big one. Either way, he's gone.''

A grief settles into Lucia. She realizes she does not know the attendants of this sacred place. If it is half as intricate and complex as she thinks, this sim takes a great amount of work and dedication to keep running. The System's curse of eternal memory meant nothing if she did not bother to take notice of someone in the first place. Dozens of faces. Hundreds, likely. On top of this, layered like a dusting of ash or snow, is the suspicion that now this skunk and whatever forks of her there may be are the only ones left. Both the skunk and Lucia herself were lucky. How many sims now sit empty, with no owner? How many empty homes and shops and cities and wildernesses and worlds wait for occupants, like pets who do not yet know the loss of their caretakers, or worse, cannot understand it? Does the System reclaim them? Should it? Should they stand as cenotaphs, markers of a terrible loss few people can yet truly wrap their heads around? Or like a home in a vibrant neighborhood, should the next inhabitants move in, so that life can go on for the living? She doesn't know. Answers are beyond her, she is the rain that falls from the sky and her eyes in equal measure. She rolls off of resolution or closure, like droplets off the panes of the glass of the traincar.

Her tears soak into the paper of her sketchbook, and that tugs her to reality again. She cannot change the past, but she can change the present, the future. She wipes the water from her eyes hastily. ``I did not know his name. Nor yours, though you clearly know mine.''

The skunk straightens up a little. ``My name is Seras. Seras Frame.''

Lucia nods. ``Seras. I will remember it.''

Seras shrugs. ``You can't forget it.''

Lucia says, ``language is an art, not a science. When we say forget and remember, they can mean many things. I will say your name, Seras. I will speak it aloud and address you and not take you for granted again.''

The train begins to slow as it reaches the fifth stop. Seras looks out the window, then back to Lucia. ``I'll be getting off here, but before I do\ldots'' her voice trails off, and she holds up the ticket puncher, clacking it a few times. Lucia smiles. She pulls the ticket from her pocket, as she has every week for hundreds of years.

Seras stands up and takes it, looking it over. ``Honestly, I was worried we'd lost all our riders. It's hard to say who's just too overwhelmed to show up, and who's gone. If you're here, I'm sure I'll see other old faces soon enough.'' She punches the ticket, and pauses. ``Have you killed anyone since uploading?''

The train comes to a stop, and something deep inside Lucia tenses. She snaps at the skunk. ``Why? Worried I'm going to start up again?''

Seras rolls her eyes, and hands Lucia back her ticket brusquely. ``Just curious.''

The skunk walks away swiftly, headed for the back of the car. She's just about to leave when Lucy finds her voice again. ``I didn't even know you could kill someone here until the bomb went off.''

Seras stops dead in her tracks, but doesn't turn around. Lucy keeps talking.

``I heard rumors of people being assassinated, but I never looked into it. How could you kill someone in a world like this? It all stunk of conspiracy, and you know how people are here. I thought I finally found a world without violence, and for a time I had such a world. Then the bomb devours billions, like an earthquake rending the ground into a maw of Hell. I am brought so close to the jaws of death I remember why I was glad to leave that world behind.'' Lucy feels like a child, small, afraid. Even after transitioning it is a feeling she has rarely felt, and her usual guard falls away. Words tumble from her before she can stop them. ``And I do think this is confessional. I do my penance in this public place, an anonymous sinner, because it must not be done alone. I apologize for my hostility. I do not like to be so plainly and nakedly seen by a stranger, and you frightened me like I haven't been since the Ansible table.''

Seras turns. The two women watch each other for a while. Lucia speaks first.

``Do you think I've done enough? Held this Vigil for enough lifetimes? Should I keep going?''

The train's whistle blows. Seras shakes her head. ``I told you before. I'm not in the business of Absolution or Salvation.'' She walks to the back door. As the railcars start to lurch into motion, she adds, ``I'm just happy to see someone's still riding the train.''

Then she's gone, and Lucia pushes herself over a few seats to the window. She sees the skunk laughing and pulling the back of her jacket over her head. As the train pulls away, she's stomping her boots through the puddles on the platform as she runs for the shelter of an awning.