by Gene Wolfe
“You are an unbound simulator. What is a bound simulator, and whom are you simulating—my father?”
“No.” The face in the screen, Mr. Million’s face as I had always thought of it, shook its head. “Call me, call the person simulated, at least, your great-grandfather. He—I—am dead. In order to achieve simulation, it is necessary to examine the cells of the brain, layer by layer, with a beam of accelerated particles so that the neural patterns can be reproduced, we say ‘core imaged,’ in the computer. The process is fatal.”
I asked after a moment, “And a bound simulator?”
“If the simulation is to have a body that looks human the mechanical body must be linked—‘bound’—to a remote core, since the smallest billion-word core cannot be made even approximately as small as a human brain.” He paused again, and for an instant his face dissolved into myriad sparkling dots, swirling like dust motes in a sunbeam. “I am sorry. For once you wish to listen, but I do not wish to lecture. I was told, a very long time ago, just before the operation, that my simulation—this—would be capable of emotion in certain circumstances. Until today I had always thought they lied.” I would have stopped him if I could, but he rolled out of the room before I could recover from my surprise.
For a long time, I suppose an hour or more, I sat listening to the drumming of the rain and thinking about Phaedria and about what Mr. Million had said, all of it confused with my father’s questions of the night before, questions which had seemed to steal their answers from me so that I was empty, and dreams had come to flicker in the emptiness, dreams of fences and walls and the concealing ditches called ha-has, that contain a barrier you do not see until you are about to tumble on it. Once I had dreamed of standing in a paved court fenced with Corinthian pillars so close set that I could not force my body between them, although in the dream I was only a child of three or four. After trying various places for a long time, I had noticed that each column was carved with a word—the only one that I could remember was carapace—and that the paving stones of the courtyard were mortuary tablets like those set into the floors in some of the old French churches, with my own name and a different date on each.
This dream pursued me even when I tried to think of Phaedria, and when a maid brought me hot water—for I now shaved twice a week—I found that I was already holding my razor in my hand, and had in fact cut myself with it so that the blood had streaked my nightclothes and run down onto the sheets.
T
he next time I saw Phaedria, which was four or five days afterward, she was engrossed by a new project in which she enlisted both David and me. This was nothing less than a theatrical company, composed mostly of girls her own age, which was to present plays during the summer in a natural amphitheater in the park. Since the company, as I have said, consisted principally of girls, male actors were at a premium, and David and I soon found ourselves deeply embroiled. The play had been written by a committee of the cast, and—inevitably—revolved about the loss of political power by the original French-speaking colonists. Phaedria, whose ankle would not be mended in time for our performance, would play the crippled daughter of the French governor; David, her lover (a dashing captain of chasseurs); and I, the governor himself—a part I accepted readily because it was a much better one than David’s, and offered scope for a great deal of fatherly affection toward Phaedria.
The night of our performance, which was early in June, I recall vividly for two reasons. My aunt, whom I had not seen since she had closed the door behind Dr. Marsch, notified me at the last moment that she wished to attend and that I was to escort her. And we players had grown so afraid of having an empty house that I had asked my father if it would be possible for him to send some of his girls—who would thus lose only the earliest part of the evening, when there was seldom much business in any event. To my great surprise (I suppose because he felt it would be good advertising) he consented, stipulating only that they should return at the end of the third act if he sent a messenger saying they were needed.
Because I would have to arrive at least an hour early to make up, it was no more than late afternoon when I called for my aunt. She showed me in herself, and immediately asked my help for her maid, who was trying to wrestle some heavy object from the upper shelf of a closet. It proved to be a folding wheelchair, and under my aunt’s direction we set it up. When we had finished she said abruptly, “Give me a hand in, you two,” and taking our arms lowered herself into the seat. Her black skirt, lying emptily against the leg boards of the chair like a collapsed tent, showed legs no thicker than my wrists, but also an odd thickening, almost like a saddle, below her hips. Seeing me staring, she snapped, “Won’t be needing that until I come back, I suppose. Lift me up a little. Stand in back and get me under the arms.”
I did so, and her maid reached unceremoniously under my aunt’s skirt and drew out a little leather padded device on which she had been resting. “Shall we go?” my aunt sniffed. “You’ll be late.”
I wheeled her into the corridor, her maid holding the door for us. Somehow, learning that my aunt’s ability to hang in the air like smoke was physically, indeed mechanically, derived made it more disturbing than ever. When she asked why I was so quiet, I told her and added that I had been under the impression that no one had yet succeeded in producing working antigravity.
“And you think I have? Then why wouldn’t I use it to get to your play?”
“I suppose because you don’t want it to be seen.”
“Nonsense. It’s a regular prosthetic device. You buy them at the surgical stores.” She twisted around in her seat until she could look up at me, her face so like my father’s, and her lifeless legs like the sticks David and I used as little boys when, doing parlor magic, we wished Mr. Million to believe us lying prone when we were in fact crouched beneath our own supposed figures. “Puts out a super-conducting field, then induces eddy currents in the reinforcing rods in the floors. The flux of the induced currents opposes the machine’s own flux and I float, more or less. Lean forward to go forward; straighten up to stop. You look relieved.”
“I am. I suppose antigravity frightened me.”
“I used the iron banister when I went down the stairs with you once; it has a very convenient coil shape.”
Our play went smoothly enough, with predictable cheers from members of the audience who were, or at least wished to be thought, descended from the old French aristocracy. The audience, in fact, was better than we had dared hope, five hundred or so besides the inevitable sprinkling of pickpockets, police, and street-walkers. The incident I most vividly recall came toward the latter half of the first act, when for ten minutes or so I sat with few lines at a desk, listening to my fellow actors. Our stage faced the west, and the setting sun had left the sky a welter of lurid color: purple-reds striped gold and flame and black. Against this violent ground, which might have been the massed banners of Hell, there began to appear, in ones and twos, like the elongate shadows of fantastic grenadiers crenelated and plumed, the heads, the slender necks, the narrow shoulders, of a platoon of my father’s demimondaines; arriving late, they were taking the last seats at the upper rim of our theater, encircling it like the soldiery of some ancient, bizarre government surrounding a treasonous mob.
They sat at last, my cue came, and I forgot them, and that is all I can now remember of our first performance, except that at one point some motion of mine suggested to the audience a mannerism of my father’s and there was a shout of misplaced laughter—and that at the beginning of the second act Sainte Anne rose with its sluggish rivers and great grassy meadow-meres clearly visible, flooding the audience with green light, and at the close of the third I saw my father’s crooked little valet bustling among the upper rows and the girls, green-edged black shadows, filing out.
We produced three more plays that summer, all with some success, and David and Phaedria and I became an accepted partnership, with Phaedria dividing herself more or less equally between us—whether by her own incl
ination or her parents’ orders I could never be quite sure. When her ankle knit she was a companion fit for David in athletics, a better player of all the ball and racket games than any of the other girls who came to the park, but she would as often drop everything and come to sit with me, where she sympathized with (though she did not actually share) my interest in botany and biology, and gossiped, and delighted in showing me off to her friends, since my reading had given me a sort of talent for puns and repartee.
It was Phaedria who suggested, when it became apparent that the ticket money from our first play would be insufficient for the costumes and scenery we coveted for our second, that at the close of future performances the cast circulate among the audience to take up a collection; and this, of course, in the press and bustle easily lent itself to the accomplishment of petty thefts for our cause. Most people, however, had too much sense to bring to our theater, in the evening, in the gloomy park, more money than was required to buy tickets and perhaps an ice or a glass of wine during intermission; so no matter how dishonest we were the profit remained small, and we, and especially Phaedria and David, were soon talking of going forward to more dangerous and lucrative adventures.
At about this time, I suppose as a result of my father’s continued and intensified probing of my subconscious, a violent and almost nightly examination whose purpose was still unclear to me and which, since I had been accustomed to it for so long, I scarcely questioned, I became more and more subject to frightening lapses of conscious control. I would, so David and Mr. Million told me, seem quite myself though perhaps rather more quiet than usual, answering questions intelligently if absently, and then, suddenly, come to myself, start, and stare at the familiar rooms, the familiar faces, among which I now found myself, perhaps after the midafternoon, without the slightest memory of having awakened, dressed, shaved, eaten, gone for a walk.
Although I loved Mr. Million as much as I had when I was a boy, I was never able, after that conversation in which I learned the meaning of the familiar lettering on his side, quite to reestablish the old relationship. I was always conscious, as I am conscious now, that the personality I loved had perished years before I was born, and that I addressed an imitation of it, fundamentally mathematical in nature, responding as that personality might to the stimuli of human speech and action. I could never determine whether Mr. Million is really aware in that sense which would give him the right to say, as he always has, “I think” and “I feel.” When I asked him about it he could only explain that he did not know the answer himself, that having no standard of comparison, he could not be positive whether his own mental processes represented true consciousness or not; and I, of course, could not know whether this answer represented the deepest meditation of a soul somehow alive in the dancing abstractions of the simulation or whether it was merely triggered, a phonographic response, by my question.
Our theater, as I have said, continued through the summer and gave its last performance with the falling leaves drifting, like obscure, perfumed old letters from some discarded trunk, upon our stage. When the curtain calls were over we who had written and acted the plays of our season were too disheartened to do more than remove our costumes and cosmetics and drift ourselves, with the last of our departing audience, down the whip-poor-will-haunted paths to the city streets and home. I was prepared, as I remember, to take up my duties at my father’s door, but that night he had stationed his valet in the foyer to wait for me, and I was ushered directly into the library, where my father explained brusquely that he would have to devote the latter part of the evening to business and for that reason would speak to me (as he put it) early. He looked tired and ill, and it occurred to me, I think for the first time, that he would one day die—and that I would, on that day, become at once both rich and free.
What I said under the drugs that evening I do not, of course, recall, but I remember as vividly as I might if I had only this morning awakened from it the dream that followed. I was on a ship, a white ship like one of those the oxen pull, so slowly the sharp prows make no wake at all, through the green water of the canal beside the park. I was the only crewman, and indeed the only living man aboard. At the stern, grasping the huge wheel in such a flaccid way that it seemed to support and guide and steady him rather than he it, stood the corpse of a tall, thin man whose face, when the rolling of his head presented it to me, was the face that floated in Mr. Million’s screen. This face, as I have said, was very like my father’s, but I knew the dead man at the wheel was not he.
I was aboard the ship a long time. We seemed to be running free, with the wind a few points to port and strong. When I went aloft at night, masts and spars and rigging quivered and sang in the wind, and sail upon sail towered above me, and sail upon white sail spread below me, and more masts clothed in sails stood before me and behind me. When I worked on deck by day, spray wet my shirt and left tear-shaped spots on the planks which dried quickly in the bright sunlight.
I cannot remember ever having really been on such a ship, but perhaps, as a very small child, I was, for the sounds of it, the creaking of the masts in their sockets, the whistling of the wind in the thousand ropes, the crashing of the waves against the wooden hull, were all as distinct, and as real, as much themselves, as the sounds of laughter and breaking glass overhead had been when, as a child, I had tried to sleep, or the bugles from the citadel which sometimes, then, woke me in the morning.
I was about some work, I do not know just what, aboard this ship. I carried buckets of water with which I dashed clotted blood from the decks, and I pulled at ropes which seemed attached to nothing—or rather, firmly tied to immovable objects still higher in the rigging. I watched the surface of the sea from bow and rail, from the mastheads, and from atop a large cabin amidships, but when a star-crosser, its entry shields blinding bright with heat, plunged hissing into the sea far off I reported it to no one.
And all this time the dead man at the wheel was talking to me. His head hung limply, as though his neck were broken, and the jerkings of the wheel he held, as big waves struck the rudder, sent it from one shoulder to the other, or back to stare at the sky, or down. But he continued to speak, and the few words I caught suggested that he was lecturing upon an ethical theory whose postulates seemed even to him doubtful. I felt a dread of hearing this talk and tried to keep myself as much as possible toward the bow, but the wind at times carried the words to me with great clarity, and whenever I looked up from my work I found myself much nearer the stern, sometimes in fact almost touching the dead steersman, than I had supposed.
After I had been on this ship a long while, so that I was very tired and very lonely, one of the doors of the cabin opened and my aunt came out, floating quite upright about two feet above the tilted deck. Her skirt did not hang vertically as I had always seen it, but whipped in the wind like a streamer, so that she seemed on the point of blowing away. For some reason I said, “Don’t get close to that man at the wheel, Aunt. He might hurt you.”
She answered, as naturally as if we had met in the corridor outside my bedroom, “Nonsense. He’s far past doing anyone any good, Number Five, or any harm either. It’s my brother we have to worry about.”
“Where is he?”
“Down there.” She pointed at the deck as if to indicate that he was in the hold. “He’s trying to find out why the ship doesn’t move.”
I ran to the side and looked over, and what I saw was not water but the night sky. Stars—innumerable stars—were spread at an infinite distance below me, and as I looked at them I realized that the ship, as my aunt had said, did not make headway or even roll, but remained heeled over, motionless. I looked back at her and she told me, “It doesn’t move because he has fastened it in place until he finds out why it doesn’t move,” and at this point I found myself sliding down a rope into what I supposed was the hold of the ship. It smelled of animals. I had awakened, though at first I did not know it.
My feet touched the floor, and I saw that David and Phaedria w
ere beside me. We were in a huge, loftlike room, and as I looked at Phaedria, who was very pretty but tense and biting her lips, a cock crowed.
David said, “Where do you think the money is?” He was carrying a tool kit.
And Phaedria, who I suppose had expected him to say something else, or in answer to her own thoughts, said, “We’ll have lots of time; Marydol is watching.” Marydol was one of the girls who appeared in our plays.
“If she doesn’t run away. Where do you think the money is?”
“Not up here. Downstairs behind the office.” She had been crouching, but she rose now and began to creep forward. She was all in black, from her ballet slippers to a black ribbon binding her black hair, with her white face and arms in striking contrast, and her carmine lips an error, a bit of color left by mistake. David and I followed her.
Crates were scattered, widely separated, on the floor, and as we passed them I saw that they held poultry, a single bird in each. It was not until we were nearly to the ladder which plunged down a hatch in the floor at the opposite corner of the room that I realized that these birds were gamecocks. Then a shaft of sun from one of the skylights struck a crate and the cock rose and stretched himself, showing fierce red eyes and plumage as gaudy as a macaw’s. “Come on,” Phaedria said, “the dogs are next,” and we followed her down the ladder. Pandemonium broke out on the floor below.