"Where the Shadows Run From Themselves"

WHERE THE SHADOWS RUN FROM THEMSELVES
By Curtis C. Chen

The elevator stops and the doors open on a featureless white chamber, a single room with a square table in the middle. There's something on the table, blinking different colors, but you can't quite make it out from here.

You step out of the elevator.

The doors slide shut behind you, and when you turn back, the elevator has disappeared. There's only a blank white wall there, and all around you. No windows, no doors, nothing.

Soft white light seems to emanate from every surface, as if these objects are glowing from within.

The lights on the table keep blinking. You walk forward to get a better look.

Attached to the table is a rectangular white box. You can't move it; the box feels like a single, solid block, except for three blinking lights on top.

The lights shine inside three big plastic push-buttons—red, green, and blue, from left to right—each one a convex disk as big as your palm.

You reach out and press down on the red button. You feel something click inside the box.

A male voice booms from the ceiling: "I said don't push the red button!"

You jump back. Nothing else happens. You wait for what feels like a long time—you start counting slowly, but stop after you reach twenty-six.

The button-lights continue blinking.

You push the green button. Nothing happens. You push it again. Still nothing.

You push the blue button. All the illuminated surfaces around you go dark, leaving just the buttons blinking in blackness. You push the blue button again. The lights come back on.

It's weird that the green button doesn't seem to do anything.

You stare at the buttons for a while, and you realize that each one is blinking a different sequence. Sometimes the light stays on for a long time, and sometimes it's much shorter; similarly, there are short pauses, long pauses, and extra-long pauses between lights. The sequences repeat.

The red and green sequences are very similar. The only difference between them is where their single extra-long pause occurs. For red, it's after a long light and before another long light. For green, it's after a short and before a long.

The blue sequence is significantly different from red or green. Blue has more short lights, and a longer sequence overall. You wish you had some pen and paper to write this down, but it's a small enough data set that you can keep it all in your head.

You leave out the extra-long pauses, since that's where each sequence repeats, and the short pauses, which simply appear to separate the lights. What does that give you?

Red: long, short, pause, long, long, long.

Green: long, long, long, pause, long, short.

Blue: long, long, long, pause, short, short, long, short, pause, short, short, long, short.

Recognition snaps into place. You know what this is. You know what the lights are telling you to do.

You push the green button, then the blue button.

And then you see it.



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"Interview with a Gatekeeper"

INTERVIEW WITH A GATEKEEPER
By Curtis C. Chen

I open the door, I close the door. That's all. I don't look inside, I don't go through. You could not pay me enough to go through.

They say what's on the other side always changes. It's different for every person, and different every time that person opens and closes the door. Sometimes it changes on both sides, and the person who went in never comes out. We give them forty-eight hours. Then we have to send the next one in.

It's busier here than you might think. Anyone above a certain national security clearance has to open the door. Every President since Carter has had to at least look inside before taking office. Sometimes they step through, but we never close the door on them. Can't take the chance that he'll disappear. Even if he freaks out—well, that's why we have them do it, right? To see if they can handle it.

No. We have no idea how it works. Every now and then, the eggheads come by with some new sensor they've cooked up. They're always disappointed when they leave. And they always argue about who has to open the door.

See, the door knows who's opening it. It has to, right? Because it shows you something that will scare the shit out of you specifically, and only you. It also knows if there's more than one person looking inside. If there are two or more observers, it does nothing—open it and you see the back wall there. The door works for a single person at a time, and it's eyes-only—no photos, no video. If you try to record what you see, it just doesn't work.

And isn't that almost scarier than the door being a portal to weird-ass places which don't exist? It implies that the door can tell the future. It doesn't decide to stop working after you open the door and pull out your phone to take a picture; it doesn't work at all in the first place. It knows what you're going to do.

But here's the other thing. You see how they installed the door here? It opens toward you. It doesn't work if you open it from the other side, pushing the door away; it only works if you pull it open.

Now think about the doors you have in your own house, like your front door. You pull the door open when you're inside. You push when you're entering the house, pull when you're leaving.

So here's my question. We can open the door and go through—out—to whatever bizarre reality it's created for your own personal torment. But every time we do that, what the hell might we be letting back into our world?

I'm pretty sure we won't like the answer, whenever we finally find out. But that won't be anytime soon. Meanwhile, you know, it's a paycheck. I'm not rigging elections or doing illegal domestic surveillance or anything morally questionable like that.

I open the door, I close the door. That's it.



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"In Which Miss Hartfeil Drops Some Science on Her Tenth Grade Classroom"

IN WHICH MISS HARTFEIL DROPS SOME SCIENCE ON HER TENTH GRADE CLASSROOM
By Curtis C. Chen

The Martians came from the future. We didn't know that at first, and neither did they. And how did we find out? Anyone? That's right, Becky, we had sex with them.

All right, everybody simmer down! You knew this was going to be today's lesson, and we have a lot to get through here.

Who knows where the first ship from Mars landed?

Yes. And the name of the woman who greeted our first visitors from another planet?

Correct. Does anybody know more about that initial encounter? Go ahead, Tanis.

Okay. Thank you, Tanis, for that disturbingly clinical retelling of what was, at the time, a rather sensational news event.

Some of your grandparents may have been alive for this, so as a side project—yes, Molly, it is worth extra credit—you can interview a family member about what they remember from that time.

Now, before anything else, I need to say this: Do not have unprotected sex with anybody! Especially not alien life forms from outer space.

I'm going to say that several times today, because though it might seem like an obvious health safety tip, clearly it wasn't anywhere near Jessy Harper's mind on that fateful night in Willow Creek.

Once again: Do not have unprotected sex with space aliens. Or humans! Just don't do it, okay?

It is possible that young Jessy thought she was safe from disease or pregnancy because her lover wasn't human. Well, she was wrong. There's another important lesson here: If something seems weird, it's probably even weirder than you think. The universe is really, really, really weird, guys.

Here's the punchline. That Martian who had sexual intercourse with Jessy Harper was, in fact, also human. The same species as us—homo sapiens. He came from a civilization of humans who had left Earth, some time in our future, and colonized Mars, hundreds of thousands of years in their distant past.

I'm not going to get into the time travel stuff, because I honestly don't understand it, and that's Mr. Wright's job to teach you about wormholes and brane spaces and quantum foam. It took everyone here on Earth a long time to figure out what was going on with the Martians, but after we did, whole new areas of scientific research opened up to us.

Back to the species thing. Who here has a pet dog or cat at home? Angie, what breed is your dog?

Okay. Does anybody know how many different breeds of dogs there are?

It's a lot. Hundreds worldwide. And while a sheepdog may look very different from a chihuahua or a terrier, all dogs can interbreed and produce viable offspring. So you could think of Martians as just another breed of people. Another race.

Despite their unusual appearance and strange language, the Martians were still biologically human. They had basically human genitalia, which made possible that first Martian's coupling with Jessy Harper, and human DNA, which made possible her subsequent pregnancy.

Yes, Dora, we will talk about Martian penises very soon. You can put your hand down. Thank you.



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"This is the Job"

THIS IS THE JOB
By Curtis C. Chen

I had to burn my clothes after the first time. There was no way to get the smell out. It wasn't that the odor was unpleasant, exactly; but it was such a unique thing, something you wouldn't, couldn't smell anywhere else. It would always remind me of the job.

The second time wasn't any better. Different, sure. I went out with a partner, a guy with a handlebar mustache who would not stop talking. Eventually I figured out that if I just kept feeding him, he'd be too busy eating to yammer about his wife or his kids or his goddamn athlete's foot. As an added bonus, the smell of the raw onions he piled on his overcooked street-vendor hot dogs helped mask the smell.

That one didn't go so well. I work alone now. But thanks to that yappy idiot, I can't eat sausages anymore, either. Reminds me of the fucking job.

Sometimes it feels like the work is taking over my life, making it so I can't do anything without thinking of how it relates to the job. I hear a song on the radio and remember that it was playing in the shopping mall where I did number four. And playing everywhere, piped into every corner of the damn place, even those long, bare concrete back hallways where every sound echoes like a curse.

I was interrupted that time. Some kid leaving his shift at the food court, still wearing his stupid colorful uniform and sipping on a giant plastic cup of sugar water. He dropped his drink and ran, but I had a job to do. So he turned into number five.

Cutting out soda pop wasn't such a bad thing. I still get plenty of caffeine from coffee, and I've also got powders and pills to keep me going when I need a boost. Plus, forcing myself to avoid the temptation of sweet fizzy drinks means I don't hang out around so many teenagers anymore. That's good. Number five was another underage girl, and that was a fucking chore. Never again. It's so much easier when I can get them drunk first.

Planning helps. I figured that out pretty quickly. You have to think on your feet in this line of work. I mean, no plan can account for everything, but it helps to have a few options in mind when you start the job. Know your exits, keep a cover story in mind, stuff like that. You don't actually need much preparation. If you don't act too strange, people will fill in most details for themselves. No need to explain if nobody asks.

Yeah, the smell still bugs me. Mostly because I don't know what it is. I mean, I know the smell of blood. I know sweat and tears and piss and shit and even brains, but it's not any one of those. Maybe it's a combination. Or maybe it's, I don't know, something else. Something particular to the work.

I hate this fucking job. But somebody's got to do it.



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The Last of the 512s

Three months from now, on Friday, August 23rd, 2013, I will publish my 256th and final piece of flash fiction on this site.

On that day, it will have been nearly five years since I started this project. I could continue, but I feel I've accomplished what I set out to do with this project. (And yes, I could continue until the full five years is up--going to 260 stories--but these are all arbitrary numbers, and I prefer powers of two. It's, like, thematic and shit.)

I've demonstrated to myself that I can produce on a regular deadline, and with fairly consistent quality. I can generate new ideas nearly on demand and turn them into stories, or scenes, or at least writing exercises. It's time to move on to bigger, better, possibly salable things. This has been fun and productive, but it's not the endgame.

However, that last piece won't quite be the end of 512 Words or Fewer. I'm going to put together that "best of" collection I was talking about, years ago; my discerning, well-read wife DeeAnn will help me edit the book, and we'll publish it no later than my 40th birthday, on October 1st of this year. It's a happy coincidence of milestones, and I'm going to take it.

So stay tuned for the last of my 512s, to be posted on this blog over the next lucky-thirteen weeks. I can't promise they'll be any better than previous installments, but they will be new.

"Who Died?"

WHO DIED?
By Curtis C. Chen

If you tell me, I can bring him back. Or her. Whoever it was. Tell me.

Oh, no. Stop. I'm sorry, I wasn't clear. It has to be your first. Yes, the very first. Your first experience with death. It may not have been a human; perhaps it was a pet, a goldfish or dog or—no? All right. But it must be your first.

I'll know if you're lying. It only works if you tell the truth. It has to be the first. The first death which made it clear to you that death is real, permanent, pervasive, inescapable. Your first. That's the only one I can bring back.

That doesn't mean it has to be someone who was close to you. That's the other thing everybody gets wrong. It's not the first person who died and affected you in some deep, traumatic, emotional way. No. It's simply your first death, the one that exposed the reality of dying to you.

Yes, they do often coincide, and those stories are as horrible as they are pedestrian; the young child who loses a parent, we've all heard that one, haven't we? But the good news is, I can do something about it. I can bring that parent back. If that was your first death.

Well, of course there's a price. Isn't there always? That's how this works. The price, in this case, is your memory.

Oh, not your entire memory. Heavens, no! That would be unspeakably cruel. I only take that single memory, of your first encounter with death. That moment of revelation, when you understood that the Reaper was whispering around every corner, waiting for each of us at the end.

I take that memory, and you get your dearly departed back.

Of course, there will be certain side effects. That knowledge of death, of what it does and how it affects us, has informed every decision you've ever made since you acquired it. You would have been a very different person without it. And once I take that memory, you will be different.

Not different in any noticeable way; not at first. You'll still be you, with the same personality, the same fears and foibles as always. But you'll not have the same understanding of death any longer. You'll have to go through that experience again. You'll have to relive your first death.

Maybe it will be easier this time, better; maybe it'll be worse. Who can say? Some actually desire that opportunity, that second chance to grasp the ineffable.

But in any case, you'll have your dead back. That's the important thing, for most; they're willing to sacrifice to save that person. They're willing to plunge themselves into the unknown for the guarantee of seeing their long-lost loved one, alive again.

Oh, I can't tell you what happened to any of the others. Also part of the bargain, I'm afraid. You don't get to play the odds. You must decide with only the information I've given you.

Have you decided? Excellent.

So, tell me: who died?



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"Down to Earth"

DOWN TO EARTH
By Curtis C. Chen

"They have telescopes," Perry said. "They've all got telescopes. Some of them are tracking you right now, feeding live video to public web sites. We can't shut down the entire worldwide amateur astronomy community. You can't de-orbit."

I hated not being able to see him. Several of the meteors—the smaller ones—had impacted my helmet, knocking out the heads-up display embedded in the transparent visor. It was weird, hearing Perry's voice in my ear without seeing his face, and I wondered if it would have been better if one of the bigger rocks had smashed into my head. At least then I would have died in an instant, instead of now having to choose a terrible public demise.

"You think it's going to be better if I yank off my helmet and suffocate?" I asked. "Then the whole world gets to watch my corpse circling the planet for centuries. At least if I burn up, it's over in a few minutes."

"Do you want your husband to see that?" Perry said. "Do you really want your immolation broadcast live, in high-definition 3-D?"

"Fuck you, Perry," I said. "Lamont's smart enough to turn off his TV. You're worried about how this is going to affect the stock price."

There was a long pause. I stared down at planet Earth, huge and beautiful and still. I wondered how many people were observing me from the ground. They probably couldn't see my face through the polarized helmet visor—unless somebody was using a wide-spectrum receiver. Never underestimate the ingenuity of bored graduate students.

"We have another option," Perry said at last.

"Does it involve me not dying?"

He hesitated before answering. "I wish I had better news, Kayla—"

"Just tell me."

"Your spacesuit thrusters still have eighty percent of their reserves," Perry said. "We can give you a procedure to overload the primary fuel cell cluster."

I kept my face calm and hoped nobody watching from the ground could read lips. "You want me to blow myself up?"

"Just let me finish," Perry said. "It'll be quick. Over in less than a second, and any debris gets incinerated in the atmosphere before hitting the ground. We can program in a random delay, so you won't even know when it happens."

"You're so kind," I said. "And then the company gets to cover up the whole thing, pretend my suit was damaged in the meteor shower, and call this entire 'incident' a terrible, unavoidable tragedy."

"I'm on your side, Kayla," Perry said. "I'm sorry, but this is your best option now."

I squeezed my eyes shut, holding in my tears. "I want to talk to Lamont."

"What?"

"I want to talk to my husband."

"Kayla—"

"You get my husband on comms," I said, "or I start waving my arms in semaphore and spelling out exactly what happened for the whole damn world to see. You've got thirty seconds, Perry."

"That's not enough time!"

"Twenty-five seconds."

"Okay, okay!" The line beeped and went dead.

"Fucker," I muttered.



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"Dear John"

DEAR JOHN
By Curtis C. Chen

The day Michael's dead wife wrote back to him was the day the world started to end.

Michael had written to Barbara every day since the one after her funeral, when he'd woken up, bleary-eyed, to face a house full of the assorted stationery she loved to collect.

There were notepads of all sizes, and letterheads from fictional organizations like "The Watchers Council," and whimsical cards featuring original, hand-drawn cartoons. Michael couldn't bear to throw any of it out, but he also hated the idea of packing it away. Either one felt too much like he was making an effort to forget her.

Then, while sorting through a pile of note paper made from strips of recycled concert posters, Michael started writing down a grocery list. Maybe the long, narrow format of the paper influenced him. Maybe his subconscious had decided that since he wasn't going to get rid of the paper, he might as well use it.

Partway through the list, after "eggs" and "milk," he didn't know what came next, but his hand continued moving the pen. What emerged was a series of questions that Michael would have asked Barbara: do we need more cereal? what dishwasher soap do we use? does the spinach really need to be organic? why don't you just subscribe to that magazine?

He filled the rest of that page and several more, until his tears made the ink run.

After that, he wrote a new letter every day, using a different type of paper each time. When he finished a letter, he sealed it in an envelope and packed away the rest of that stationery. After sunset, he started a fire in the living room and burned the letter, watching as his words became glowing flakes and spiraled up and away.

One morning, three months after the funeral, Michael brought his mug of coffee into the living room and dropped it on the hardwood floor.

He stared at the envelope which sat on top of the ashes of last night's fire. It was not the stationery he'd used; that had been lavender-colored, with ponies prancing around the border of each page. This was a plain white number ten envelope.

Michael fell to his knees and crawled through a lukewarm puddle of coffee to reach the envelope. He poked one shaky finger under the flap, tore open the seal, and pulled out the letter.

It was a single sheet of paper, eight and a half by eleven inches, folded in three parts to fit inside the envelope. On the paper was written a single word, in Barbara's delicate script, without capitalization or punctuation:

run

Michael turned the paper over, then held it up to the window, trying to see if anything else might be written or watermarked or scratched there. There was nothing. He went back to the kitchen and placed the letter and envelope on the counter.

As soon as he let go of the papers, they crumpled themselves into balls and disappeared in two flashes of green flame.

Michael ran.



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