“What's that for?” Blaine asked.
“Propitiation.”
“But life after death is a scientific fact.”
“Mr. Kean told me that science has little effect upon superstition,” Smith said. “Reilly was fairly sure he'd survive after death; but he saw no reason to take chances. Also, Mr. Kean says that the very rich, like the very religious, wouldn't enjoy a hereafter filled with just anybody. They think that, by suitable rites and symbols, they can get into a more exclusive part of the hereafter.”
“Is there a more exclusive part?” Blaine asked.
“No one knows. It's just a belief.”
Smith led him across the room to an ornate door covered with Egyptian hieroglyphics and Chinese ideograms.
“Reilly's body is inside here,” Smith said.
“And we’re going in?”
“Yes, we have to.”
Smith pushed the door open. Blaine saw a vast marble-pillared room. In its very center was a bronze and gold coffin inlaid with jewels. Surrounding the coffin was a great and bewildering quantity of goods; paintings and sculptures, musical instruments, carvings, objects like washing machines, stoves, refrigerators, even a complete heliocopter. There was clothing and books, and a lavish banquet had been laid out.
“What's all this stuff for?” Blaine asked.
“The essence of these goods is intended to accompany the owner into the hereafter. It's an old belief.”
Blaine's first reaction was one of pity. The scientific hereafter hadn't freed men from the fear of death, as it should have done. On the contrary, it had intensified their uncertainties and stimulated their competitive drive. Given the surety of an afterlife, man wanted to improve upon it, to enjoy a better heaven than anyone else. Equality was all very well; but individual initiative came first. A perfect and passionless levelling was no more palatable an idea in the hereafter than it was on Earth. The desire to surpass caused a man like Reilly to build a tomb like the Pharaohs of ancient Egypt, to brood all his life about death, to live continually trying to find ways of preserving his property and status in the gray uncertainties ahead.
A shame. And yet, Blaine thought, wasn't his pity based upon a lack of belief in the efficacy of Reilly's measures? Suppose you could improve your situation in the hereafter? In that case, what better way to spend one's time on Earth than working for a better eternity?
The proposition seemed reasonable, but Blaine refused to believe it. That couldn't be the only reason for existence on Earth! Good or bad, fair or foul, the thing had to be lived for its own sake.
Smith walked slowly into the coffin room, and Blaine stopped his speculations. The zombie stood, contemplating a small table covered with ornaments. Dispassionately he kicked the table over. Then slowly, one by one, he ground the delicate ornaments into the polished marble floor.
“What are you doing?” Blaine asked.
“You want the poltergeist to leave you alone?”
“Of course.”
“Then he must have some reason for leaving you alone,” Smith said, kicking over an elaborate ebony sculpture.
It seemed reasonable enough to Blaine. Even a ghost must know he will eventually leave the Threshold and enter the hereafter. When he does, he wants his goods waiting for him, intact. Therefore fight fire with fire, persecution with persecution.
Still, he felt like a vandal when he picked up an oil painting and prepared to shove his fist through it.
“Don't,” said a voice above his head.
Blaine and Smith looked up. Above them there seemed to be a faint silvery mist. From the mist an attenuated voice said, “Please put down the painting.”
Blaine held on to it, his fist poised. “Are you Reilly?”
“Yes.”
“Why are you haunting me?”
“Because you’re responsible! Everything's your fault! You killed me with your evil murdering mind! Yes you, you hideous thing from the past, you damned monster!”
“I didn't!” Blaine cried.
“You did! You aren't human! You aren't natural! Everything shuns you except your friend the dead man! Why aren't you dead, murderer!”
Blaine's fist moved toward the painting. The thin voice screamed, “Don't!”
“Will you leave me alone?” Blaine asked.
“Put down the painting,” Reilly begged.
Blaine put it carefully down.
“I'll leave you alone,” Reilly said. “Why shouldn't I? There are things you can't see, Blaine, but I see them. Your time on Earth will be short, very short, painfully short. Those you trust will betray you, those you hate will conquer you. You will die, Blaine, not in years but soon, sooner than you could believe. You'll be betrayed, and you'll die by your own hand.”
“You’re crazy!” Blaine shouted.
“Am I?” Reilly cackled. “Am I? Am I?” The silvery mist vanished. Reilly was gone.
Smith led him back through narrow winding passageways to the street level. Outside the air was chilly, and dawn had touched the tall buildings with red and gray.
Blaine started to thank him, but Smith shook his head. “No reason for thanks! After all, I need you, Blaine. Where would I be if the poltergeist killed you? Take care of yourself, be careful. Nothing is possible for me without you.”
The zombie gazed anxiously at him for a moment, then hurried away. Blaine watched him go, wondering if it wouldn't be better to have a dozen enemies than Smith for a friend.
21
Half an hour later he was at Marie Thorne's apartment. Marie, without makeup, dressed in a housecoat, blinked sleepily and led him to the kitchen, where she dialed coffee, toast and scrambled eggs.
“I wish,” she said, “you'd make your dramatic appearances at a decent hour. It's six-thirty in the morning.”
“I'll try to do better in the future,” Blaine said cheerfully.
“You said you'd call. What happened to you?”
“Did you worry?”
“Not in the slightest. What happened?”
Between bites of toast Blaine told her about the hunt, the haunting, and the exorcism. She listened to it all, then said, “So you’re obviously very proud of yourself, and I guess you should be. But you still don't know what Smith wants from you, or even who he is.”
“Haven't the slightest idea,” Blaine said. “Smith doesn't, either. Frankly, I couldn't care less.”
“What happens when he finds out?”
“I'll worry about that when it happens.”
Marie raised both eyebrows but made no comment. “Tom, what are your plans now?”
“I'm going to get a job.”
“As a hunter?”
“No. Logical or not, I'm going to try the yacht design agencies. Then I'm going to come around here and bother you at reasonable hours. How does that sound?”
“Impractical. Do you want some good advice?”
“No.”
“I'm giving it to you anyhow. Tom, get out of New York. Go as far away as you can. Go to Fiji or Samoa.”
“Why should I?”
Marie began to pace restlessly up and down the kitchen. “You simply don't understand this world.”
“I think I do.”
“No! Tom, you've had a few typical experiences, that's all. But that doesn't mean you've assimilated our culture. You've been snatched, haunted, and you've gone on a hunt. But it adds up to not much more than a guided tour. Reilly was right, you’re as lost and helpless as a caveman would be in your own 1958.”
“That's ridiculous, and I object to the comparison.”
“All right, let's make it a 14th century Chinese. Suppose this hypothetical Chinaman had met a gangster, gone on a bus ride and seen Coney Island. Would you say he understood 20th century America?”
“Of course not. But what's the point?”
“The point,” she said, “is that you aren't safe here, and you can't even sense what or where or how urgent the dangers are. For one, that damned Smith is after you. Next, R
eilly's heirs might not take kindly to you desecrating his tomb; they might find it necessary to do something about it. And the directors at Rex are still arguing about what they should do about you. You've altered things, changed things, disrupted things. Can't you feel it?”
“I can handle Smith,” Blaine said. “To hell with Reilly's heirs. As for the directors, what can they do to me?”
She came over to him and put her arms around his neck. “Tom,” she said earnestly, “any man born here who found himself in your shoes would run as fast as he could!”
Blaine held her close for a moment and stroked her sleek dark hair. She cared for him, she wanted him to be safe. But he was in no mood for warnings. He had survived the dangers of the hunt, had passed through the iron door into the underworld and won through again to the light. Now, sitting in Marie's sunny kitchen, he felt elated and at peace with the world. Danger seemed an academic problem not worthy of discussion at the moment, and the idea of running away from New York was absurd.
“Tell me,” Blaine said lightly, “among the things I've disrupted — is one of them you?”
“I'm probably going to lose my job, if that's what you mean.”
“That's not what I mean.”
“Then you should know the answer… Tom, will you please get out of New York?”
“No. And please stop sounding so panicky.”
“Oh Lord,” she sighed, “We talk the same language but I'm not getting through. You don't understand. Let me try an example.” She thought for a moment. “Suppose a man owned a sailboat —”
“Do you sail?” Blaine asked.
“Yes, I love sailing. Tom, listen to me! Suppose a man owned a sailboat in which he was planning an ocean voyage —”
“Across the sea of life,” Blaine filled in.
“You’re not funny,” she said, looking very pretty and serious. “This man doesn't know anything about boats. He sees it floating, nicely painted, everything in place. He can't imagine any danger. Then you look the boat over. You see that the frames are cracked, teredos have gotten into the rudder post, there's dry rot in the mast step, the sails are mildewed, the keel bolts are rusted, and the fastenings are ready to let go.”
“Where'd you learn so much about boats?” Blaine asked.
“I've been sailing since I was a kid. Will you please pay attention? You tell that man his boat is not seaworthy, the first gale is likely to sink him.”
“We'll have to go sailing sometime,” Blaine said.
“But this man,” Marie continued doggedly, “doesn't know anything about boats. The thing looks all right. And the hell of it is, you can't tell him exactly what is going to happen, or when. Maybe the boat will hold together for a month, or a year, or maybe only a week. Maybe the keel bolts will go first, or perhaps it'll be the mast. You just don't know. And that's the situation here. I can't tell you what's going to happen, or when. I just know you’re unseaworthy. You must get out of here!”
She looked at him hopefully. Blaine nodded and said, “You'll make one hell of a crew.”
“So you’re not going?”
“No. I've been up all night. The only place I'm going now is to bed. Would you care to join me?”
“Go to hell!”
“Darling, please! Where's your pity for a homeless wanderer from the past?”
“I'm going out,” she said. “Help yourself to the bedroom. You'd better think about what I told you.”
“Sure,” Blaine said. “But why should I worry when I have you looking out for me?”
“Smith's looking for you, too,” she reminded him. She kissed him quickly and left the room.
Blaine finished his breakfast and turned in. He awoke in the early afternoon. Marie still hadn't returned, so before leaving he wrote her a cheerful note with the address of his hotel.
During the next few days he visited most of the yacht design agencies in New York, without success. His old firm, Mattison & Peters, was long defunct. The other firms weren't interested. Finally, at Jaakobsen Yachts, Ltd., the head designer questioned him closely about the now-extinct Chesapeake Bay and Bahamas work boats. Blaine demonstrated his considerable knowledge of the types, as well as his out-of-date draftsmanship.
“We get a few calls for antique hulls,” the head designer said. “Tell you what. We'll hire you as office boy. You can do classic hulls on a commission basis and study up on your designing, which, frankly, is old-fashioned. When you’re ready, we'll upgrade you. What do you say?”
It was an inferior position; but it was a job, a legitimate job, with a fine chance for advancement. It meant that at last he had a real place in the world of 2110. “I'll take it,” Blaine said, “with thanks.”
That evening, by way of celebrating, he went to a Sensory Shop to buy a player and a few recordings. He was entitled, he thought, to a little basic luxury.
The sensories were an inescapable part of 2110, as omnipresent and popular as television had been in Blaine's day. Larger and more elaborate versions of the sensories were used for theater productions, and variations were employed for advertising and propaganda. They were to date the purest and most powerful form of the ready-made dream, tailored to fit anyone.
But they had their extremely vocal opponents, who deplored the ominous trend toward complete passivity in the spectator. These critics were disturbed by the excessive ease with which a person could assimilate a sensory; and in truth, many a housewife walked blank-eyed through her days, a modern-day mystic plugged into a continual bright vision.
In reading a book or watching television, the critics pointed out, the viewer had to exert himself, to participate. But the sensories merely swept over you, vivid, brilliant, insidious, and left behind the damaging schizophrenic impression that dreams were better and more desirable than life. Such an impression could not be allowed, even if it were true. Sensories were dangerous! To be sure, some valid artistic work was done in the sensory form. (One could not discount Verreho, Johnston or Telkin; and Mikkelsen showed promise.) But there was not much good work. And weighed against the damaging psychic effects, the lowering of popular taste, the drift toward complete passivity…
In another generation, the critics thundered, people will be incapable of reading, thinking or acting!
It was a strong argument. But Blaine, with his 152 years of perspective, remembered much the same sort of arguments hurled at radio, movies, comic books, television and paperbacks. Even the revered novel had once been bitterly chastised for its deviation from the standards of pure poetry. Every innovation seemed culturally destructive; and became, ultimately, a cultural staple, the embodiment of the good old days, the spirit of the Golden Age — to be threatened and finally destroyed by the next innovation.
The sensories, good or bad, were here. Blaine entered the store to partake of them.
After looking over various models he bought a medium-priced Bendix player. Then, with the clerk's aid, he chose three popular recordings and took them into a booth to play. Fastening the electrodes to his forehead, he turned the first one on.
It was a popular historical, a highly romantic rendition of the Chanson de Roland, done in a low-intensity non-identification technique that allowed large battle effects and massed movements. The dream began.
… and Blaine was in the pass of Roncesvalles on that hot and fateful August morning in 778, standing with Roland's rear guard, watching the main body of Charlemagne's army wind slowly on toward Frankland. The tired veterans slumped in their high-cantled, saddles, leather creaked, spurs jingled against bronze stirrup-guards. There was a smell of pine and sweat in the air, a hint of smoke from razed Pampelona, a taste of oiled steel and dry summer grass…
Blaine decided to buy it. The next was a high-intensity chase on Venus, in which the viewer identified fully with the hunted but innocent man. The last was a variable-intensity recording of War and Peace, with occasional identification sections.
As he paid for his purchases, the clerk winked at him and said, “
Interested in the real stuff?”
“Maybe,” Blaine said.
“I got some great party records,” the clerk told him. “Full identification with switches yet. No? Got a genuine horror piece — man dying in quicksand. The murderers recorded his death for the specialty trade.”
“Perhaps some other time,” Blaine said, moving toward the door.
“And also,” the clerk told him, “I got a special recording, legitimately made but withheld from the public. A few copies are being bootlegged around. Man reborn from the past. Absolutely genuine.”
“Really?”
“Yes, it's perfectly unique. The emotions come through clear as a bell, sharp as a knife. A collector's item. I predict it'll become a classic.”
“That I'd like to hear,” Blaine said grimly.
He took the unlabeled record back to the booth. In ten minutes he came out again, somewhat shaken, and purchased it for an exorbitant price. It was like buying a piece of himself.
The clerk and the Rex technicians were right. It was a real collector's item, and would probably become a classic.
Unfortunately, all names had been carefully wiped to prevent the police from tracing its source. He was famous — but in a completely anonymous fashion.
22
Blaine went to his job every day, swept the floor emptied the wastepaper basket, addressed envelopes, and did a few antique hulls on commission. In the evenings he studied the complex science of 22nd century yacht design. After a while he was given a few small assignments writing publicity releases. He proved talented at this, and was soon promoted to the position of junior yacht designer, He began handling much of the liaison between Jaakobsen Yachts, Ltd., and the various yards building to their design.
He continued to study, but there were few requests for classic hulls. The Jaakobsen brothers handled most of the stock boats, while old Ed Richter, known as the Marvel of Salem, drew up the unusual racers and multi-hulls. Blaine took over publicity and advertising, and had no time for anything else.
It was responsible, necessary work. But it was not yacht designing. Irrevocably his life in 2110 was falling into much the same pattern it had assumed in 1958.
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