author: Nicole J. LeBoeuf

"So what are you writing about this year?" Common question. Probably the most-asked question between Boulder Wrimos last night. My answer? "It's an urban fantasy involving an interdimensional assassin and a woman who's unhealthily turned on by danger." And I haven't been very pleased with that answer, because it makes the assassin, Jet, sound like the only real character in the book. It turns Lia into a sort of mentally deranged caricature who is of course going to be attracted the first James Bond clone who comes along.

Today I wrote the scene where Lia has just picked a hitchhiking Jet on her way south out of town. Jet is bruised and bloody and has just stepped out in front of Lia's car. Now she's Lia's passenger, and she's getting interrogated about what she was up to just now.

Now, before I wrote this scene, while Lia was still an uncomfortably two-dimensional danger-addict, I imagined her losing control of the car as Jet described her most recent assignment. For no better reason than she found the story all exciting and arousing and stuff.

Stupid. Very stupid. But it was all I had.

Then I actually wrote the scene and realized Lia had a connection to Jet's victim, and what turned Lia on was knowing that the bastard was dead.

Miles roll by while I try to decide how far is far enough. They never say. Lia breaks the silence, all abrupt and suspicious: "Were you really trying to kill yourself?"

How much do I tell her? What harm can it do? But not much good, either. "Maybe for a moment there."

"Well, then, for a moment there, you were a fucking jerk." I watch her hands grip the wheel tighter. "You want to kill yourself, you can do it without dragging someone else into your drama. Fucking jerk." Silence again, for just a moment. Then she yanks at the volume knob. Old school punk music soars and batters my dream ears. For the briefest of moments I consider throwing myself out of the car. But no, this might not be far enough away from the scene of my assignment yet. I can't really be sure.

Ten miles I'm still not sure, but Lia turns down the volume again. "Why?"

I'm lost in thought by now, replaying my actions of the last two hours. My right shoulder feels wrenched: Ritchie, grabbing my wrist as I headed for the door. My mind's ear is faintly occupide with the noises Tresco made behind me as I escaped. A job well done is a joy to remember.

"Jet." The sound of my name brings me back to the here and now. I don't hear it often. "Why would you want to kill yourself?" Lia sounds oddly curious this time around, like one artist comparing techniques and preferences with another.

So I think about the question. I think about acceptable ways to answer it. It's never a good idea to get involved with non-involved characters in a dream, not even to the point of conversation. But it's not forbidden, either. What harm can it do? "I just killed a man," I tell her.

She jerks the wheel a little--surprise? Panic?--and punches the accellerator momentarily. When she eases off the pedal, her eyes stay wide. "It finally happened. Five years of picking up any hitchhiker I run across, I finally pick up a criminal." She sounds incongruously delighted. "Shit. An honest to God killer."

"Assassin." The correction is automatic, a reflex borne of long, intense training. "It's different. Well, to me anyway. It's all down to the reasoning."

She's silent awhile, smiling at the road. Outside, the desert is featureless, a far cry from Mapleton Ridge's depressing skyline. Yucca dot the ditch beyond the highway shoulder, and rock formations dominate the distance like the portfolio of an indifferent dilletante sculptor. "Who was he? The man you killed."

That's easy. Talking about other people is a lot easier than talking about myself. I don't have to be guarded. "Called himself Tresco. Leader of a gang calling themselves the Swifts."

Lia's putting on speed again. Just a little, but she's keeping it on this time. "Tresco."

"Sound familiar?"

She doesn't answer. Her knuckles whiten again. Then she laughs, hard and merciless, and I begin to wonder if I'll survive this ride. But that's OK. I'm far enough away now, I'm sure of it. "Tell me about it," Lia demands, sudden and decisive.

"I don't know much. He wasn't a very good gangster. I expected him to be more competent, but apparently he's--"

"Tell me how he died."

I glance at her, sidelong, and I see the set of her jaw. "What do you want to know?"

She grits her teeth--I hear them click and grind. "Make me see it. I want to be there."

And I'm thinking, that's a relief. Lia has some back story now, and she's starting to look potentially rounded as a character. You know. Rather than flat.

Tomorrow: the car crash! A scene I'm pretty sure I know inside out, through and through. Which means I will probably get surprised again.