John Lauricella

“Jenna is acting strange. Weeping, moping, even remarks tending toward belittlement Melmoth might tolerate (although he cannot think why; she is not his wife and even in human females PMS is a plague of the past) but when he caught her lying about Raquel—udderly wonderful, indeed—he knew the problem was serious.

After sex, Melmoth powers her down. He retrieves her capsule from underground storage, a little abashed to be riding up with the oblong vessel in a lobby elevator where anyone might see. Locked vertical for easy transport, the capsule on its castors and titanium carriage stands higher than Melmoth is tall. He cannot help feeling that its translucent pink upper half and tapered conical roundness make it look like an erect penis. Arriving at penthouse level, he wheels it into his apartment. Once inside his private quarters, he positions it beside the hoverbed and enters a six-character alphanumeric open-sesame to spring the lid. On an interior panel, Melmoth touches a sensor for AutoRenew. Gold wands deploy from opposite ends and set up a zero-gravity field that levitates Jenna from the topsheet. As if by magic—to Melmoth it is magic—the inert form of his personal android companion floats four feet laterally and gentles to rest in a polymer cradle contoured to her default figure.

Jenna is only a SmartBot. She does not breathe, blood does not run in her arteries and veins. She has no arteries or veins, nor a heart, nor anything in the way of organic tissue. She can be replaced in a day—she can be replaced right now. If Melmoth touches “Upgrade,” the capsule lid will seal and lock, all VirtuLinks to Jenna will break, and a courier from GlobalDigital will collect the unit from a cargo bay of Melmoth’s high-rise after delivering a new model to Melmoth himself. It distresses him, how easy replacement would be, as if Jenna were no more abiding than an oldentime car he might decide one morning to trade-in. Seeing her in the capsule is bad enough; the poor thing looks as if she is lying in her coffin. Melmoth does not select “Power Down” on his cerebral menu any more often than he must. Only to update her software does Melmoth resort to pulling Jenna’s plug. Updating, too, disturbs him. In authorizing it, he cannot pretend she is human. [pp. 90-91]”
― John Lauricella, 2094

“He finds a basket and lays fish inside it. Charcoal is in a wooden bucket. Enrique lifts it, basket in his other hand, and moves through shadow toward daylight.

A presence makes him turn his head. He sees no one, yet someone is there.

He sets down fish and charcoal. Straightening up, Enrique slips his Bowie knife clear of its sheath. He listens, tries to sense the man’s place. This intruder lies low. Is concealed. Behind those barrels? In that corner, crouched down? Enrique shuts his eyes, holds his breath a moment and exhales, his breath’s movement the only sound, trying to feel on his skin some heat from another body.

Where?

Enrique sends his mind among barrels and sacks, under shelves, behind posts and dangling utensils. It finds no one.

He is hiding. Wants not to be found. Is afraid.

If he lies under a tarpaulin, he cannot see. To shoot blind would be foolish: likely to miss, certain to alert the others.

Enrique steps around barrels, his boots silent on packed sand. Tarps lie parallel in ten-foot lengths, their wheaten hue making them visible in the shadowed space. They are dry and hold dust. All but one lies flat.

There.

Enrique imagines how it will be. To strike through the tarp risks confusion. Its heavy canvas can deflect his blade. But his opponent will have difficulty using his weapon. He might fire point-blank into Enrique’s weight above him, bearing down. To pull the tarpaulin clear is to lose his advantage; he will see the intruder who will see him. An El Norte mercenary with automatic rifle or handheld laser can cut a man in half.

Knife in his teeth, its ivory handle smooth against lips and tongue, Enrique crouches low. Pushing hard with his legs, he dives onto the hidden shape. The man spins free as Enrique grasps, boots slipping on waxed canvas. His opponent feels slight, yet wiry strength defeats Enrique’s hold. He takes his knife in hand and rips a slit long enough to plunge an arm into his adversary’s shrouded panic. Enrique thrusts the blade’s point where he believes a throat must be. Two strong hands clamp his arm and twist against each other rapidly and hard. Pain flares across his skin. Enrique wrests his arm free and his knife flies from his grasp and disappears behind him. He clenches-up and, pivoting on his other hand, turns hard into a blind punch that smashes the hidden face.

The dust of their struggle rasps in Enrique’s throat. His intended killer sucks in a hard breath and Enrique hits him again, then again, each time turning his shoulder into the blow. The man coughs out, “Do not kill me.”

Enrique knows this voice. It is Omar the Turk. [pp. 60-61]”
― John Lauricella, 2094