The Echo. James Smythe

can go wrong, that’s all. A lot is controlled by computer – life support, air supply, fuel intake – but we can take control back if we need to. We can do it from here, and Tomas can do it from Earth. That’s thanks to the communications system, and how we’ve managed to get the signal to carry enough data, relaying it with satellites. Back in the Ishiguro’s day, such an undertaking would probably have been impossible. We haven’t had a chance to test it, not outside of satellite commands, but that’s always the way with new technologies. So much of it is theoretical until it suddenly works and you’re proven correct.

      Hikaru is next to arrive, and he is grinning.

      ‘This is exciting,’ he says. We have a special cupboard of food especially for him, of white bars of soya and tofu and processed chicken. He’s not fussy about drink colour, apparently: just the food. Tobi and Lennox arrive together, and with them is Inna. Tobi pulls herself to the side and waves her hand out, allowing Inna past, as if this is some sort of formal greeting. Everybody smiles and greets her. They’ve all met her before, but only briefly, when she wasn’t originally a part of this team. Bonding was low on the list of our desired achievables before launch; far lower than making sure that she was ready for this challenge.

      ‘Hello,’ she says. She shakes our hands, reintroducing herself. None of us have forgotten her name, because she’s vital to this, and because we’ve all been talking about when she would join us.

      ‘Great to have you,’ Hikaru says. ‘You as excited as we are?’

      ‘Just about,’ she says. Her accent is curious. She’s from Georgia – Soviet, not American – but lived in England for most of her life. Her voice is very soft, only giving a hint of its origins on her Rs. She’s ten years older than Andy and myself, and in better physical shape than almost anybody else here, which is really saying something. Not sure how much of it is tinkered. ‘Can’t pretend that I’m not nervous,’ she says. She stretches the letters out, then the whole word. It sounds different, almost alien in its delivery. My own accent has been softened and lost if it was ever there in the first place; the rise and fall of my own language washed out. Hers is still there, and still prominent. Nerrrvous, she says, or it sounds.

      ‘You’d be crazy if you weren’t, I reckon,’ says Tobi.

      I feel sick, and this feels loose. Wrong. I need to speak with Tomas one last time. I can feel the lack of gravity inside me. My guts, swollen up and churning, and like the slightest movement could upset me, could end this for me. I back away from them all, down the corridor, around the corner, and I open a connection and whisper at him that I need to hear his voice.

      ‘What’s wrong now?’ Tomas asks.

      ‘Are you sure we’ve done everything we can?’

      ‘Have a safe flight, Brother,’ he replies – he calls it a flight, which sounds so demeaning for what this actually is – and I hear the click of him cancelling the connection. Over the speaker system, the launch crew announce that they are opening up the airlock entrance. We’re boarding.

       2

      Every part of this process has been designed to ensure that nothing can go wrong. I cannot stress that enough: the level of control that we have enacted on this entire operation. Entry to the Lära is as controlled as everything else. There is no room for error. Everything must be checked, processed, run through before we are allowed on. There are exacting checklists full of bullet points that take days to tick off. It’s these things that can mean the difference between life and death. This is how the systems can be guaranteed to work when we need them to, how we can streamline them and make them user friendly while still retaining the safety: they are prepared and perfected, and instigated with absolute care and diligence.

      ‘Are we getting on anytime soon?’ Tobi asks. She looks at the clock on the wall. Less than half an hour until we leave. Sedation takes only a few minutes to completely set in; the paralysis less. We don’t control the boarding process from the ship: we are nothing but passengers for now.

      ‘Not long,’ I say. I am running through their final checks in my head, and as I reach the final one, the door opens. It slides satisfyingly and the launch crew inside the ship move backwards, grinning. They’ve got balloons and a banner, both hanging in the middle of the air. My crew laughs, almost hysterically. Bon Voyage, the banner says. From the moon to the stars, under it in smaller type. They applaud, and we applaud them. We walk through to the corridor in single file as the ground crew start pulling aside the decorations, and we all find the bed labelled with our names. (I pretend to not know which one is mine, even though I dictated where the beds lie. I arranged them, like chess pieces.)

      ‘I want to go last,’ I say to Inna. She nods.

      ‘You’re nervous?’ Nerrrvous.

      ‘No,’ I say. ‘I’ve been sedated before. Nothing to be scared of.’

      ‘Good,’ she says. ‘I always think it takes better the less wary you are.’ She preps her injections. She clicks the first one in, a bullet into the hypo’s chamber. I catch a glimpse of a mark – a tattoo, I think – on her collarbone as she moves, as the fabric of her shirt pulls away, but not enough to see what it is. I wonder what it is of. I wonder how big it is. ‘Who’s first?’ she asks the group. Hikaru raises his arm, and, in one motion, starts to roll up his sleeve. ‘Neck,’ Inna says. ‘It’s better there. It takes faster.’ He shrugs and lies back on the bed. The magnets click in, holding him in place, and she folds herself down a little to reach him. The hypo seems to fizz as it empties the contents of the pod into him. He winces, and then shudders, shaking the injection off.

      ‘Nothing to it,’ he says. The others line up one by one, and they all act as if it’s nothing, but I see in their hands the mild tremble of fear at the injection itself; or, maybe, at the thought of being asleep and not being in control. I never used to drink, for that loss; I never used to take painkillers, for the same. Tobi goes first, then Lennox, then Wallace, and then Inna turns to me. ‘You next,’ she says.

      ‘One second,’ I say, as she readies the hypo. I pull myself to the cockpit and open a connection to Tomas. ‘Can you hear me?’ I ask him.

      ‘What is it?’ Tomas sounds annoyed at the sound of my voice. I know how busy he must be. I speak quietly, and turn away from the rest of the crew. I don’t want anybody to see that I’m worried.

      ‘Is everything okay?’

      ‘It’s fine. Why would it be anything other than okay?’

      ‘I just wanted to check.’

      ‘You think that I would let the launch happen if everything wasn’t okay?’

      ‘No,’ I say.

      ‘I have work to do, Mira.’ And then he’s gone. I turn back to Inna, who’s waiting. ‘Let me get into the bed,’ I say. ‘Do it there.’ I am next to the central controls on one side, with Inna on the other.

      ‘You can’t,’ she says. ‘You have to do me after I’ve done you.’ I nod and sit on the edge of the bed, unbuttoning the top of my shirt, and I pull it down to show the part she needs. She leans in: I feel the press of the needle. Like a bore, followed by the break of the skin, and the liquid. That’s the worst part: feeling it rushing inside of you, something where it should not be, mingling. It hurts for a second, nothing more. ‘It’ll only be a couple of minutes before you feel it,’ she says, and she pulls her top to one side and exposes the tattoo again. I can see more of it: the head of a bird, blue and yellow, eyes wide, mouth open. An eagle’s beak. It seems to run lower, towards her chest itself. She puts the capsule in and then hands me the hypo, and points with her finger to where I should place the nib.

      ‘Ready?’ I ask.

      ‘Of course,’ she says. The hypo rests against the peak of the bird’s head. I press the button and she barely reacts; I pull it away. She folds her top back up. ‘Now,’ she says, ‘time