Down below him, at the bottom of the hill, is a forest of tall, white trees and, beyond that, the beginning of the Labyrinth. He’s been here before, maybe not right here, but near enough. He’s seen this moon before, stood under its light. He’s been in that forest, even if maybe some other part of it. He’s seen the split-headed giants that live there, the doors that they build in the ground, the men with cloven hooves and the heads of dogs, the black shapes that occasionally flit in front of the moon. All of this is familiar to him, but something about the night, this night, feels different. A smell in the air, like the ozone smell before a storm. Something.
Maybe it’s because this trip is different. Not some hapless dreamer he’s riding in, this time, but another rider, another professional. McCabe, lying in a drugged coma in his hotel room. McCabe, a few milligrams of noxitol short of dead, lying there on his bed, hooked up to monitors and IVs and to the machine. McCabe, waiting somewhere in the Labyrinth for Kendrick to come in and find him, to learn why he’d gone to the needle instead of his oldest friend.
The company is paying for the hotel room now, for the monitors, and paying Kendrick double his usual rate, but this one he’d do for free. He has to know what happened, what changed. Or, the worse answer, if nothing has, if this was always what waited at the end of McCabe’s street and he’s just been blind to it until now.
One way or the other, he has to know, and so, he starts down the hill, toward the Labyrinth.
It probably started with the drugs, the new kinds of sleep aids to help a world full of light and motion find the time to dream. But it was the machine that ultimately did the job, that brought the wall of sleep crashing down. And what we found on the other side wasn’t what we had expected, not at all. Not a changing jungle of Freudian symbols, not personal, not subjective. An actual place: the Labyrinth and the lands that surrounded it.
It took the machine to find it. The dreamers themselves never remembered, somehow, that they all went to the same place. On their trips back to consciousness, the details of the dream world were lost, their minds replacing them with the minutiae of their memories and their own imaginations, the things that they remembered as their dreams. Always keyed to events in the Labyrinth but never identical to it.
The machine was the silver key. With it, another person, a rider, could piggyback in on the dreamer’s trip to that secret world. Not asleep, not really, and therefore, not subject to the forgetfulness that true dreaming entailed.
It became a fad, a drug, an industry. In the waking world, there were dream parlours in every mall, where you could hook into someone’s sleeping mind and take a ride to the Labyrinth. But most people were nothing more than tourists in the dreamlands, children stumbling along the turns of the Labyrinth. Kendrik and McCabe, they were professionals.
Or they had been, before McCabe tried to make himself sleep forever.
The walls of the Labyrinth are always black. Basalt, or something that can pass for it; the dreamland equivalent. They always rise up too high to scale, too high to jump. Once you’re in the Labyrinth, you’re in it, submerged, blind to anything except the next corner, and then the next.
Countless efforts have been made to map it. Kendrick has never known a professional who didn’t have at least one in-progress map tacked up somewhere. But no one has ever managed. You can’t see the Labyrinth from anywhere except the top of the hill, near the wall, and from there, it all looks the same and once you’re in it, well….
There are landmarks. Some have been seen by more than one person. He and McCabe had compared their lists late one night. They’d both seen the fountain choked with moss. They’d both seen the doorway in the middle of the courtyard, the ground on the other side of it darker than on this side, but neither of them had been brave or stupid enough to step through. Kendrick had once seen a river, miles down, that cut a roaring chasm through the midst of the Labyrinth. McCabe claimed to have found a building that looked like an abandoned mosque, with no one inside, but an altar set in the back, with some kind of mummy in an alcove behind it, one he couldn’t quite make out without getting closer than he suddenly found himself wanting to.
Some people say that the Labyrinth changes and, certainly, Kendrick has never known two pros whose maps ever really lined up. Most people have an opinion on the subject, once they’ve put a few beers in themselves at the end of the day, but Kendrick never really thought about it before. To him, the Labyrinth was what it was. It was always there, on the other side of the wall, and it was always the same, really. Even if the paths changed, its nature never did and that was enough for him.
He stands at one of the gates to the Labyrinth. All the gates he’s ever seen looked identical. No horn or ivory, just unadorned clefts in the sides of the Labyrinth. Others have tried to mark them, he knows, but the markings were always gone when they came back. Either that, or no one has ever gone to the same gate twice.
It should be impossible, what he’s doing. Going into a place that can’t be mapped to find someone who’s been lost there, already. It should be, but it never is. Something’s different about the dreamers, maybe, or about the pros. Something in how they approach the Labyrinth, or in how it approaches them, but he’s never gone in after a dreamer, never once, and not found them.
It isn’t by any conscious art that he does it, though, at the same time, he knows it’s not something everyone can do. He walks the Labyrinth as blind as if he were a dreamer, himself. No one really knows how the professionals do it, the dreamhounds, the oneiroi, as some in the industry have tried to dub them, though the name never stuck. Kendrick has this theories; all the pros do. To him, it’s all in the thinking. Dreamers don’t think while they’re in the Labyrinth, not really. They can’t. They’re caught up in the black, forgetful rivers of sleep. But the riders, those who follow them in, can think and, by thinking, by keeping their minds on their quarry, they can track them down, whether that’s by changing the turnings of the Labyrinth itself, or simply by knowing which way to turn their own steps, Kendrick doesn’t know and has never bothered to care.
Though time has no meaning here, still he knows that this is the longest he’s ever been under. Out of the corners of his eyes, he sees what might be landmarks down curving paths, but already, his feet are carrying him in another direction. He wonders how much time has passed out there in the waking world. It could be hours, minutes, days. They were prepared before he went under. IVs to feed and hydrate him, so that he could stay down, no matter how long it took.
How long will they let him stay? How long before they pull the plug, before they decide that this errand is costing more than it’s worth? He wills himself to hurry.
There are things that live in the Labyrinth. He’s always known it. Not the giants nor the dog-headed men nor any of the other things that live outside. These are different, he knows, even though he’s never seen them. He hears them, sometimes, their hopping, shuffling gait just on the other side of a wall, just a few turns away. Sometimes, in the waking world, he tries to picture them, to imagine them as he goes about his day. He always sees them as pale, eyeless things, adapted to a life lived deep underground, though, of course, the Labyrinth is always open to the perpetual twilight of the dreamlands’ sky.