When the chariot had passed, circling over the central marketplace a dozen blocks to the east, I activated the studs on my levitation harness. All of the scholics are outfitted with these harnesses, but we use them only rarely. Often, after a day’s confused fighting on the field, I had used the levitation harness to lift over the battlefield, to get a larger picture of the tactical situation, and then I would fly to Ilium—here to Helen’s house, to be honest—for a few minutes of hopeful gazing before QTing back to Olympos and my barracks.

Not now. I lifted above the street, invisible as I flew above the spearmen standing guard at the main entrance to Paris’s and Helen’s compound, crossed the high wall, and landed on one of the balconies of the inner courtyard outside the couple’s private apartments. Heart pounding, I entered the open doorway through blowing curtains. My sandals were almost silent on the stone floor. The compound’s dogs would have detected me—the Hades Helmet was no disguiser of scent—but the dogs were all on the ground floor and in the outer courtyard, not up here where the royal couple lived.

Helen was in her bath. Three female servants attended her, their bare feet leaving moist tracks as they carried warm water up and down marble steps leading to the sunken tub. Gauzy curtains surrounded the bath itself, but since the brazier tripods and the hanging lamps were inside the bathing area, the flimsy curtain material provided no obstacle to sight. Still invisible, I stood just outside the softly stirring fabric and stared at Helen in her bath.

So these are the boobs that launched a thousand ships, I thought, and immediately cursed myself for being such a jerk.

Shall I describe her to you? Shall I explain why the heat of her beauty, her naked beauty, can move men across three thousand years and more of cold time?

I think not—and not out of discretion or decorum. Helen’s beauty is beyond my poor powers of description. Having seen so many women’s breasts, was there anything unique about Helen’s soft, full breasts? Or something more perfect about the triangle of dark hair between her thighs? Or more exciting about her pale, muscled thighs? Or more amazing about her milky white buttocks and strong back and small shoulders?

Of course there was. But I’m not the man to tell you the difference. I was a minor scholar and—in my fantasies in my lost life—perhaps a novelist. It would take a poet beyond Homer, beyond Dante, even beyond Shakespeare to do justice to Helen’s beauty.

I stepped out of the bathing room, into the coolness of an empty terrace outside her bedroom, and touched the thin bracelet that allowed me to morph into other forms. The control panel of the bracelet only glowed when I called on it, but it spoke to my thumb with symbols and images. On it were stored the morphing data for all the men I had recorded in the past nine years. Theoretically, I could have morphed into a woman, but I had never found reason to do so and I certainly didn’t this night.

You have to understand something about morphing; it is not a reshaping of molecules and steel and flesh and bone into another shape. I don’t have a clue how morphing works, although a short-lived Twenty-first Century scholic named Hayakawa tried to explain his theory to me five or six years ago. Hayakawa kept stressing the conservation of matter and energy—whatever that is—but I paid little attention to that part of his explanation.

Evidently, morphing works on the quantum level of things. What doesn’t with these gods? Hayakawa asked me to imagine all the human beings here, including him and me, as standing probability waves. On the quantum level, he said, human beings—and everything else in the physical universe—exist from instant to instant as a sort of collapsing wavefront—molecules, memory, old scars, emotions, whiskers, beer breath, everything. These bracelets the gods gave us recorded probability waves and allowed us to interrupt and store the originals—and, for a short time, merge our own probability waves with the stored ones, take our own memories and will along into a new body when we morphed. Why this didn’t violate Hayakawa’s beloved conservation of mass and energy, I don’t know . . . but he kept insisting it did not.

This usurpation of another’s form and action is why we scholics almost always morphed into minor figures in the battle for Troy; literal spear carriers like the unnamed bodyguard whose form I had assumed after Dolon’s. If we were to become Odysseus, say, or Hector or Achilles or Agamemnon, we would look the part but the behavior would be our own—far inferior to the heroic character of the real person—and every minute we inhabited his form, we would carry actual events further and further from this unfolding reality that so paralleled the Iliad.

I have no idea where the real person went when we morphed into him. Perhaps the probability wave of that person simply floated around on the quantum level, no longer collapsing into what we called reality until we were finished with his form and voice. Perhaps the probability wave was stored in the bracelet we carried or in some machine or god’s microchip on Mons Olympos. I don’t know and don’t especially care. I once asked Hayakawa, shortly before he displeased the Muse and disappeared forever, if we could use the morphing bracelet to change into one of the gods. Hayakawa had laughed and said, “The gods protect their probability waves, Hockenberry. I wouldn’t try to mess with them.”

Now I triggered the bracelet and flicked through the hundreds of men I’d recorded there until I found the one I wanted. Paris. It’s probable that the Muse would have ended my existence if she’d even known that I had scanned Paris for future morphing. Scholics don’t interfere.

Where is Paris right now? Thumb over the activate icon, I tried to remember. The events of this afternoon and this evening—the confrontation between Hector and Paris and Helen, the meeting of Hector and his wife and son on the walls—all occurred near the end of Book Six of the Iliad. Didn’t they?

I couldn’t think. My chest ached with loneliness. My head was swimming, as if I’d been drinking all afternoon.

Yes, the end of Book Six. Hector leaves Andromache and Paris does catch up to him before Hector leaves the city—or just as Hector leaves the city. How had my favorite translation gone? “Nor did Paris linger long in his vaulted halls.” Helen’s new husband had buckled on his armor, as promised, and rushed out to join Hector and the two of them had strode through the Scaean Gates together, into more battle. I remember writing a paper for a scholarly convention in which I’d analyzed Homer’s metaphor of Paris racing along like a stallion breaking free of its tether, hair streaming like a mane back over his shoulders, eager for battle, blah, blah, blah.

Where is Paris now? After dark? What have I missed while wandering the streets and staring at Helen’s lights and Helen’s tits?

That was in Book Seven, and I’d always thought that Book Seven of the Iliad was a confusing, cobbled-together mess. It ended that long day that had begun in Book Two with Paris killing the Achaean named Menesthius and Hector slashing Eioneus’ throat. So much for husbandly hugs and fatherly embraces. Then there was more fighting and Hector had taken on Big Ajax in one-on-one combat and . . .

What? Nothing much. Ajax had been winning—he was the better fighter—but then the gods started quarreling about outcome again, there had been a lot of talk by the Greeks and Trojans, a lot of bluster blown back and forth, and a truce, and Hector and Ajax had swapped armor and acted like old pals, and then they all agreed to a truce while they gathered the dead for corpse fires, and . . .

Where the hell is Paris this night? Does he stay with Hector and the army to supervise the truce, speak at the funeral rituals? Or does he act more in character and come to Helen’s bed?