by Simon Ings
“You mean it’s to be a complete surprise?”
“I think it must be. I don’t want the audience coming in with preconceived ideas. I want them to see me exactly as I am now first, before they know who or what they’re seeing. They must realize I can still give as good a performance as ever before they remember and compare it with my past performances. I don’t want them to come ready to pity my handicaps—I haven’t got any!—or full of morbid curiosity. So I’m going on the air after the regular eight-o’clock telecast of the feature from Teleo City. I’m just going to do one specialty in the usual vaude program. It’s all been arranged. They’ll build up to it, of course, as the highlight of the evening, but they aren’t to say who I am until the end of the performance—if the audience hasn’t recognized me already, by then.”
“Audience?”
“Of course. Surely you haven’t forgotten they still play to a theater audience at Teleo City? That’s why I want to make my debut there. I’ve always played better when there were people in the studio, so I could gauge reactions. I think most performers do. Anyhow, it’s all arranged.”
“Does Maltzer know?”
She wriggled uncomfortably. “Not yet.”
“But he’ll have to give his permission too, won’t he? I mean—”
“Now look, John! That’s another idea you and Maltzer will have to get out of your minds. I don’t belong to him. In a way he’s just been my doctor through a long illness, but I’m free to discharge him whenever I choose. If there were ever any legal disagreement, I suppose he’d be entitled to quite a lot of money for the work he’s done on my new body—for the body itself, really, since it’s his own machine, in one sense. But he doesn’t own it, or me. I’m not sure just how the question would be decided by the courts—there again, we’ve got a problem without precedent. The body may be his work, but the brain that makes it something more than a collection of metal rings is me, and he couldn’t restrain me against my will even if he wanted to. Not legally, and not—” She hesitated oddly and looked away. For the first time Harris was aware of something beneath the surface of her mind which was quite strange to him.
“Well, anyhow,” she went on, “that question won’t come up. Maltzer and I have been much too close in the past year to clash over anything as essential as this. He knows in his heart that I’m right, and he won’t try to restrain me. His work won’t be completed until I do what I was built to do. And I intend to do it.”
That strange little quiver of something—something un-Deirdre—which had so briefly trembled beneath the surface of familiarity stuck in Harris’ mind as something he must recall and examine later. Now he said only,
“All right. I suppose I agree with you. How soon are you going to do it?”
She turned her head so that even the glass mask through which she looked out at the world was foreshortened away from him, and the golden helmet with its hint of sculptured cheekbone was entirely enigmatic.
“Tonight,” she said.
*
Maltzer’s thin hand shook so badly that he could not turn the dial. He tried twice and then laughed nervously and shrugged at Harris.
“You get her,” he said.
Harris glanced at his watch. “It isn’t time yet. She won’t be on for half an hour.” Maltzer made a gesture of violent impatience. “Get it, get it!”
Harris shrugged a little in turn and twisted the dial. On the tilted screen above them shadows and sound blurred together and then clarified into a somber medieval hall, vast, vaulted, people in bright costume moving like pygmies through its dimness. Since the play concerned Mary of Scotland, the actors were dressed in something approximating Elizabethan garb, but as every era tends to translate costume into terms of the current fashions, the women’s hair was dressed in a style that would have startled Elizabeth, and their footgear was entirely anachronistic.
The hall dissolved and a face swam up into soft focus upon the screen. The dark, lush beauty of the actress who was playing the Stuart queen glowed at them in velvety perfection from the clouds of her pearl-strewn hair. Maltzer groaned.
“She’s competing with that,” he said hollowly.
“You think she can’t?”
Maltzer slapped the chair arms with angry palms. Then the quivering of his fingers seemed suddenly to strike him, and he muttered to himself, “Look at ’em! I’m not even fit to handle a hammer and saw.” But the mutter was an aside. “Of course she can’t compete,” he cried irritably. “She hasn’t any sex. She isn’t female any more. She doesn’t know that yet, but she’ll learn.”
Harris stared at him, feeling a little stunned. Somehow the thought had not occurred to him before at all, so vividly had the illusion of the old Deirdre hung about the new one.
“She’s an abstraction now,” Maltzer went on, drumming his palms upon the chair in quick, nervous rhythms. “I don’t know what it’ll do to her, but there’ll be change. Remember Abelard? She’s lost everything that made her essentially what the public wanted, and she’s going to find it out the hard way. After that—” He grimaced savagely and was silent.
“She hasn’t lost everything,” Harris defended. “She can dance and sing as well as ever, maybe better. She still has grace and charm and—”
“Yes, but where did the grace and charm come from? Not out of the habit patterns in her brain. No, out of human contacts, out of all the things that stimulate sensitive minds to creativeness. And she’s lost three of her five senses. Everything she can’t see and hear is gone. One of the strongest stimuli to a woman of her type was the knowledge of sex competition. You know how she sparkled when a man came into the room? All that’s gone, and it was an essential. You know how liquor stimulated her? She’s lost that. She couldn’t taste food or drink even if she needed it. Perfume, flowers, all the odors we respond to mean nothing to her now. She can’t feel anything with tactual delicacy any more. She used to surround herself with luxuries—she drew her stimuli from them—and that’s all gone too. She’s withdrawn from all physical contacts.”
He squinted at the screen, not seeing it, his face drawn into lines like the lines of a skull. All flesh seemed to have dissolved off his bones in the past year, and Harris thought almost jealously that even in that way he seemed to be drawing nearer Deirdre in her fleshlessness with every passing week.
“Sight,” Maltzer said, “is the most highly civilized of the senses. It was the last to come. The other senses tie us in closely with the very roots of life; I think we perceive with them more keenly than we know. The things we realize through taste and smell and feeling stimulate directly, without a detour through the centers of conscious thought. You know how often a taste or odor will recall a memory to you so subtly you don’t know exactly what caused it? We need those primitive senses to tie us in with nature and the race. Through those ties Deirdre drew her vitality without realizing it. Sight is a cold, intellectual thing compared with the other senses. But it’s all she has to draw on now. She isn’t a human being any more, and I think what humanity is left in her will drain out little by little and never be replaced. Abelard, in a way, was a prototype. But Deirdre’s loss is complete.”
“She isn’t human,” Harris agreed slowly. “But she isn’t pure robot either. She’s something somewhere between the two, and I think it’s a mistake to try to guess just where, or what the outcome will be.”
“I don’t have to guess,” Maltzer said in a grim voice. “I know. I wish I’d let her die. I’ve done something to her a thousand times worse than the fire ever could. I should have let her die in it.”
“Wait,” said Harris. “Wait and see. I think you’re wrong.”
*
On the television screen Mary of Scotland climbed the scaffold to her doom, the gown of traditional scarlet clinging warmly to supple young curves as anachronistic in their way as the slippers beneath the gown, for—as everyone but playwrights knows—Mary was well into middle age before she died. Gracefully this latter-day Mary bent
her head, sweeping the long hair aside, kneeling to the block.
Maltzer watched stonily, seeing another woman entirely.
“I shouldn’t have let her,” he was muttering. “I shouldn’t have let her do it.”
“Do you really think you’d have stopped her if you could?” Harris asked quietly. And the other man after a moment’s pause shook his head jerkily.
“No, I suppose not. I keep thinking if I worked and waited a little longer maybe I could make it easier for her, but—no, I suppose not. She’s got to face them sooner or later, being herself.” He stood up abruptly, shoving back his chair. “If she only weren’t so… so frail. She doesn’t realize how delicately poised her very sanity is. We gave her what we could—the artists and the designers and I, all gave our very best—but she’s so pitifully handicapped even with all we could do. She’ll always be an abstraction and a… a freak, cut off from the world by handicaps worse in their way than anything any human being ever suffered before. Sooner or later she’ll realize it. And then—” He began to pace up and down with quick, uneven steps, striking his hands together. His face was twitching with a little tic that drew up one eye to a squint and released it again at irregular intervals. Harris could see how very near collapse the man was.
“Can you imagine what it’s like?” Maltzer demanded fiercely. “Penned into a mechanical body like that, shut out from all human contacts except what leaks in by way of sight and sound? To know you aren’t human any longer? She’s been through shocks enough already. When that shock fully hits her—”
“Shut up,” said Harris roughly. “You won’t do her any good if you break down yourself. Look—the vaude’s starting.”
Great golden curtains had swept together over the unhappy Queen of Scotland and were parting again now, all sorrow and frustration wiped away once more as cleanly as the passing centuries had already expunged them. Now a line of tiny dancers under the tremendous arch of the stage kicked and pranced with the precision of little mechanical dolls too small and perfect to be real. Vision rushed down upon them and swept along the row, face after stiffly smiling face racketing by like fence pickets. Then the sight rose into the rafters and looked down upon them from a great height, the grotesquely foreshortened figures still prancing in perfect rhythm even from this inhuman angle.
There was applause from an invisible audience. Then someone came out and did a dance with lighted torches that streamed long, weaving ribbons of fire among clouds of what looked like cotton wool but was most probably asbestos. Then a company in gorgeous pseudo-period costumes postured its way through the new singing ballet form of dance, roughly following a plot which had been announced as Les Sylphides, but had little in common with it. Afterward the precision dancers came on again, solemn and charming as performing dolls.
Maltzer began to show signs of dangerous tension as act succeeded act. Deirdre’s was to be the last, of course. It seemed very long indeed before a face in close-up blotted out the stage, and a master of ceremonies with features like an amiable marionette’s announced a very special number as the finale. His voice was almost cracking with excitement—perhaps he, too, had not been told until a moment before what lay in store for the audience.
Neither of the listening men heard what it was he said, but both were conscious of a certain indefinable excitement rising among the audience, murmurs and rustlings and a mounting anticipation as if time had run backward here and knowledge of the great surprise had already broken upon them.
Then the golden curtains appeared again. They quivered and swept apart on long upward arcs, and between them the stage was full of a shimmering golden haze. It was, Harris realized in a moment, simply a series of gauze curtains, but the effect was one of strange and wonderful anticipation, as if something very splendid must be hidden in the haze. The world might have looked like this on the first morning of creation, before heaven and earth took form in the mind of God. It was a singularly fortunate choice of stage set in its symbolism, though Harris wondered how much necessity had figured in its selection, for there could not have been much time to prepare an elaborate set.
The audience sat perfectly silent, and the air was tense. This was no ordinary pause before an act. No one had been told, surely, and yet they seemed to guess—The shimmering haze trembled and began to thin, veil by veil.
Beyond was darkness, and what looked like a row of shining pillars set in a balustrade that began gradually to take shape as the haze drew back in shining folds. Now they could see that the balustrade curved up from left and right to the head of a sweep of stairs. Stage and stairs were carpeted in black velvet; black velvet draperies hung just ajar behind the balcony, with a glimpse of dark sky beyond them trembling with dim synthetic stars.
The last curtain of golden gauze withdrew. The stage was empty. Or it seemed empty. But even through the aerial distances between this screen and the place it mirrored, Harris thought that the audience was not waiting for the performer to come on from the wings. There was no rustling, no coughing, no sense of impatience. A presence upon the stage was in command from the first drawing of the curtains; it filled the theater with its calm domination. It gauged its timing, holding the audience as a conductor with lifted baton gathers and holds the eyes of his orchestra.
For a moment everything was motionless upon the stage. Then, at the head of the stairs, where the two curves of the pillared balustrade swept together, a figure stirred.
Until that moment she had seemed another shining column in the row. Now she swayed deliberately, light catching and winking and running molten along her limbs and her robe of metal mesh. She swayed just enough to show that she was there. Then, with every eye upon her, she stood quietly to let them look their fill. The screen did not swoop to a close-up upon her. Her enigma remained inviolate and the television watchers saw her no more clearly than the audience in the theater.
Many must have thought her at first some wonderfully animate robot, hung perhaps from wires invisible against the velvet, for certainly she was no woman dressed in metal—her proportions were too thin and fine for that. And perhaps the impression of robotism was what she meant to convey at first. She stood quiet, swaying just a little, a masked and inscrutable figure, faceless, very slender in her robe that hung in folds as pure as a Grecian chlamys, though she did not look Grecian at all. In the visored golden helmet and the robe of mail that odd likeness to knighthood was there again, with its implications of medieval richness behind the simple lines. Except that in her exquisite slimness she called to mind no human figure in armor, not even the comparative delicacy of a St. Joan. It was the chivalry and delicacy of some other world implicit in her outlines.
A breath of surprise had rippled over the audience when she moved. Now they were tensely silent again, waiting. And the tension, the anticipation, was far deeper than the surface importance of the scene could ever have evoked. Even those who thought her a manikin seemed to feel the forerunning of greater revelations.
Now she swayed and came slowly down the steps, moving with a suppleness just a little better than human. The swaying strengthened. By the time she reached the stage floor she was dancing. But it was no dance that any human creature could ever have performed. The long, slow, languorous rhythms of her body would have been impossible to a figure hinged at its joints as human figures hinge. (Harris remembered incredulously that he had feared once to find her jointed like a mechanical robot. But it was humanity that seemed, by contrast, jointed and mechanical now.)
The languor and the rhythm of her patterns looked impromptu, as all good dances should, but Harris knew what hours of composition and rehearsal must lie behind it, what laborious graving into her brain of strange new pathways, the first to replace the old ones and govern the mastery of metal limbs.
To and fro over the velvet carpet, against the velvet background, she wove the intricacies of her serpentine dance, leisurely and yet with such hypnotic effect that the air seemed full of looping rhythms, as if her long, taperin
g limbs had left their own replicas hanging upon the air and fading only slowly as she moved away. In her mind, Harris knew, the stage was a whole, a background to be filled in completely with the measured patterns of her dance, and she seemed almost to project that completed pattern to her audience so that they saw her everywhere at once, her golden rhythms fading upon the air long after she had gone.
Now there was music, looping and hanging in echoes after her like the shining festoons she wove with her body. But it was no orchestral music. She was humming, deep and sweet and wordlessly, as she glided her easy, intricate path about the stage. And the volume of the music was amazing. It seemed to fill the theater, and it was not amplified by hidden loudspeakers. You could tell that. Somehow, until you heard the music she made, you had never realized before the subtle distortions that amplification puts into music. This was utterly pure and true as perhaps no ear in all her audience had ever heard music before.
While she danced the audience did not seem to breathe. Perhaps they were beginning already to suspect who and what it was that moved before them without any fanfare of the publicity they had been half-expecting for weeks now. And yet, without the publicity, it was not easy to believe the dancer they watched was not some cunningly motivated manikin swinging on unseen wires about the stage.
Nothing she had done yet had been human. The dance was no dance a human being could have performed. The music she hummed came from a throat without vocal chords. But now the long, slow rhythms were drawing to their close, the pattern tightening in to a finale. And she ended as inhumanly as she had danced, willing them not to interrupt her with applause, dominating them now as she had always done. For her implication here was that a machine might have performed the dance, and a machine expects no applause. If they thought unseen operators had put her through those wonderful paces, they would wait for the operators to appear for their bows. But the audience was obedient. It sat silently, waiting for what came next. But its silence was tense and breathless.