New Cthulhu: The Recent Weird by Kim Newman, Neil Gaiman, China Miéville, Charles Stross, Cherie Priest, Caitlin R. Kiernan, Sarah Monette, Michael Marshall Smith, Paula Guran

of your thumb. Smooth, cold to the touch. “What is it?”
    “Dunno,” he shrugs. “Marble?”
    “Fucking shit marble, Baz. It’s not even fucking round .”
    Baz shrugs again and I say “Weird,” and then it’s time to go. You don’t want to be hanging around any longer than necessary. Don’t want to be in a burning hurry, either—that’s when you can get careless or make too much noise or forget to look both ways as you slip out—but once you’ve found what you came for, you might as well be somewhere else.
    So we go via the kitchen, grab the bin bag full of gear and slip out the back way. Stand outside the door a second, make sure no one’s passing by, then walk out onto the street, calm as you like. Van’s just around the corner. We stroll along the pavement, chatting normally, looking like we live in one of the other houses and walk this way every night. Get in the van—big white fucker, naturally, virtually invisible in London—and off we go.
    It’s fucking magic, that moment.
    The one where you turn the van into the next street and suddenly you’re just part of the evening traffic, and you know it’s done and you’re away and bar a fuck-up with the distribution of the goods it’s like it never happened. I always light a fag right then, crack open the window, smell the London air coming in the van. Warm, cold, it’s London. Best air in the world.
    Weird thing, though. Even though it’s not that big a deal, the business with the drawers was still niggling me a few hours later. You do see the odd thing or two in my business—stuff that don’t quite make sense. Couple of months ago we’re doing over a big old house, over Tufnell Park way, and either side of the mantelpiece there’s a painting. Two little paintings, obviously done by the same bloke. Signed the same, for a start. Now, there’s huge photos all over the mantelpiece, including some wedding ones, and it don’t take a genius to work out that these two paintings are of the owners: one of the bloke, and the other of his missus. What’s that about? For a start, you’ve already got all the photos. And why get two paintings, one of each of you? If you’re going to get a painting done, surely you have the two of you together, looking all lovey-dovey and like you’ll never, ever get divorced and stand screaming at each other in some brief’s office arguing about bits of furniture you only bought in the first place because they was there and you had the cash burning a hole in your pocket. Maybe that’s it—you have the paintings done separate so you can split them when you break up. But if you’re already thinking about that, then . . . Whatever. People are just weird. Baz wanted to draw mustaches on the paintings, but I wouldn’t let him. They can’t have been cheap. So we just did one on the wife.
    Anyway, couple of hours in the Junction and everything’s peachy. Already shifted most of the electrical goods to blokes we know are either keeping them for themselves or can be trusted to punt them on over the other side of town. Baz and I done a deal and he’s going to keep the little telly for his sister’s birthday. Couple bits of jewelry Baz found will go to Mr. Pzlowsky, a pro fence I use over in Bow. He don’t talk to no one—can barely understand what the old fucker’s saying, anyway—and can be trusted to only rob us short-sighted, not actually blind.
    So the only thing left is the little thing I’ve got in my pocket. I get out, look at it. Funny thing is, I don’t really remember slipping it in there. Like I said, it’s small, and it looks like it must be made of glass. It’s so shiny, transparent in parts, that it can’t be anything else. But it’s got colors and textures in it too—kind of pinks and salmon, and some threads of dark green. And it feels . . . it feels almost wet, even though it had been in my pocket for ages. I suppose it’s just some special kind of glass or stone