Many elements mingle to make this remarkable story. Some of these elements belong to the structures of fantasy, some to those of science fiction. The talent of Roger Zelazny combines then all in a colorful yarn through which runs the steady thread of the sense of wonder.

High upon the western slope of Mount Kilimanjaro is the dried and frozen carcass of a leopard. An author is always necessary to explain what it was doing there because stiff leopards don't talk much.

THE MAN. The music seems to come and go with a will of its own. At least turning the knob on the bedside unit has no effect on its presence or absence. A half-familiar, alien tune, troubling in a way. The phone rings, and he answers it. There is no one there. Again.

Four times during the past half hour, while grooming himself, dressing and rehearsing his arguments, he has received non-calls. When he checked with the desk he was told there were no calls. But that damned clerk-thing had to be malfunctioning—like everything else in this place.

The wind, already heavy, rises, hurling particles of ice against the building with a sound like multitudes of tiny claws scratching. The whining of steel shutters sliding into place startles him. But worst of all, in his reflex glance at the nearest window, it seems he has seen a face.

Impossible of course. This is the third floor. A trick of light upon hard-driven flakes: Nerves.

Yes. He has been nervous since their arrival this morning. Before then, even ...

He pushes past Dorothy's stuff upon the countertop, locates a small package among his own articles. He unwraps a flat red rectangle about the size of his thumbnail. He rolls up his sleeve and slaps the patch against the inside of his left elbow.

The tranquilizer discharges immediately into his bloodstream. He takes several deep breaths, then peels off the patch and drops it into the disposal unit. He rolls his sleeve down, reaches for his jacket.

The music rises in volume, as if competing with the blast of the wind, the rattle of the icy flakes. Across the room the videoscreen comes on of its own accord.

The face. The same face. Just for an instant. He is certain. And then channelless static, wavy lines. Snow. He chuckles.

All right, play it that way, nerves, he thinks. You \>e every reason. But the (rank's coming to get you now. Better have your fun quick. You 're about to be shut down.

The videoscreen cuts into a porn show.

Smiling, the woman mounts the man... .

The picture switches to a voiceless commentator on something or other.

He will survive. He is a survivor. He, Paul Plaige, has done risky things before and has always made it through. It is just that having Dorothy along creates a kind of deja vu that he finds unsettling. No matter.

She is waiting for him in the bar. Let her wait. A few drinks will make her easier to persuade—unless they make her bitchy. That sometimes happens, too. Either way, he has to talk her out of the thing.

Silence. The wind stops. The scratching ceases. The music is gone.

The whirring. The window screens dilate upon the empty city.

Silence, under totally overcast skies. Mountains of ice ringing the place. Nothing moving. Even the video has gone dead.

He recoils at the sudden flash from a peripheral unit far to his left across the city. The laser beam hits a key point on the glacier, and its face falls away.

Moments later he hears the hollow, booming sound of the crashing ice. A powdery storm has risen like surf at the ice mount's foot. He smiles at the power, the timing, the display. Andrew Aldon ... always on the job, dueling with the elements, stalemating nature herself, immortal guardian of Playpoint. At least Aldon never malfunctions.

The silence comes again. As he watches the risen snows settle he feels the tranquilizer beginning to work. It will be good not to have to worry about money again. The past two years have taken a lot out of him. Seeing all of his investments fail in the Big Washout— that was when his nerves had first begun to act up. He has grown softer than he was a century ago—a young, rawboned soldier of fortune then, out to make his bundle and enjoy it. And he had. Now he has to do it again, though this time will be easier—except for Dorothy.

He thinks of her. A century younger than himself, still in her twenties, sometimes reckless, used to all of the good things in life. There is something vulnerable about Dorothy, times when she lapses into such a strong dependence that he feels oddly moved. Other times, it just irritates the hell out of him. Perhaps this is the closest he can come to love now, and occasional ambivalent response to being needed. But of course she is loaded. That breeds a certain measure of necessary courtesy. Until he can make his own bundle again, anyway. But none of these things are the reason he has to keep her from accompanying him on his journey. It goes beyond love or money. It is survival.

The laser flashes again, this time to the right. He waits for the crash.

THE STATUE. It is not a pretty pose. She lies frosted in an ice cave, looking like one of Rodin's less comfortable figures, partly propped on her left side, right elbow raised above her head, hand hanging near her face, shoulders against the wall, left leg completely buried.

She has on a gray parka, the hood slipped back to reveal twisted strands of dark blond hair; and she wears blue trousers; there is a black boot on the one foot that is visible.

She is coated with ice, and within the much-refracted light of the cave what can be seen of her features is not unpleasant but not strikingly attractive either. She looks to be in her twenties.

There are a number of fracture lines within the cave's walls and floor. Overhead, countless icicles hang like stalactites, sparkling jewellike in the much-bounced light. The grotto has a stepped slope to it with the statue at its higher end, giving to the place a vaguely shrinelike appearance.

On those occasions when the cloud cover is broken at sundown a reddish light is cast about her figure.

She has actually moved in the course of a century—a few inches, from a general shifting of the ice. Tricks of the light make her seem to move more frequently, however.

The entire tableau might give the impression that this is merely a pathetic woman who had been trapped and frozen to death here, rather than the statue of the living goddess in the place where it all began.

THE WOMAN. She sits in the bar beside a window. The patio outside is gray and angular and drifted with snow; the flowerbeds are filled with dead plants—stiff, flattened, and frozen. She does not mind the view. Far from it. Winter is a season of death and cold, and she likes being reminded of it. She enjoys the prospect of pitting herself against its frigid and very visible fangs. A faint flash of light passes over the patio, followed by a distant roaring sound. She sips her drink and licks her lips and listens to the soft music that fills the air.

She is alone. The bartender and all of the other help here are of the mechanical variety. If anyone other than Paul were to walk in, she would probably scream. They are the only people in the hotel during this long off-season. Except for the sleepers, they are the only people in all of Play point.

And Paul ... He will be along soon to take her to the dining room. There they can summon holo-ghosts to people the other tables, if they wish. She does not wish. She likes being alone with Paul at a time like this, on the eve of a great adventure.

He will tell her his plans over coffee, and perhaps even this afternoon they might obtain the necessary equipment to begin the exploration for that which would put him on his feet again financially, return to him his self-respect. It will of course be dangerous and very rewarding. She finishes her drink, rises, and crosses to the bar for another.