2909 lines
121 KiB
Plaintext
2909 lines
121 KiB
Plaintext
![]() |
|
|||
|
--
|
|||
|
|
|||
|
** *******
|
|||
|
* * * *
|
|||
|
* *
|
|||
|
* ** * ******* ***** **** * ***** ** ** *******
|
|||
|
* ** * * * * * * * * * * * * * *
|
|||
|
* * * * * * * * * * * * *
|
|||
|
* * * * * * * * * * * *
|
|||
|
* * * * * *** **** * *** * *
|
|||
|
* * ** * * * * * * * * *
|
|||
|
* * * * * * * * * * * *
|
|||
|
* * * * **** * * * **** * * *
|
|||
|
|
|||
|
==========================================
|
|||
|
InterText Vol. 2, No. 4 / July-August 1992
|
|||
|
==========================================
|
|||
|
|
|||
|
Contents
|
|||
|
|
|||
|
FirstText: Where Are They Now?....................Jason Snell
|
|||
|
|
|||
|
Short Fiction
|
|||
|
|
|||
|
One Person's Junk_...............................Warren Ernst_
|
|||
|
|
|||
|
Was_..............................................Ken Zuroski_
|
|||
|
|
|||
|
Glow_............................................Brian Tanaka_
|
|||
|
|
|||
|
Rufus Won't Wake Up_.............................Brian Tanaka_
|
|||
|
|
|||
|
Serial
|
|||
|
|
|||
|
The Unified Murder Theorem (Conclusion)_............Jeff Zias_
|
|||
|
|
|||
|
....................................................................
|
|||
|
Editor Assistant Editor
|
|||
|
Jason Snell Geoff Duncan
|
|||
|
jsnell@etext.org gaduncan@halcyon.com
|
|||
|
....................................................................
|
|||
|
Proofreader Send subscription requests, story
|
|||
|
Melinda Hamilton submissions, and correspondence
|
|||
|
mhamilto@ucsd.edu to intertext@etext.org
|
|||
|
....................................................................
|
|||
|
InterText Vol. 2, No. 4. InterText (ISSN 1071-7676) is published
|
|||
|
electronically on a bi-monthly basis. Reproduction of this
|
|||
|
magazine is permitted as long as the magazine is not sold
|
|||
|
(either by itself or as part of a collection) and the entire
|
|||
|
text of the issue remains intact. Copyright 1992, 1994 Jason
|
|||
|
Snell. Individual stories Copyright 1992 by their original
|
|||
|
authors.
|
|||
|
....................................................................
|
|||
|
|
|||
|
|
|||
|
FirstText: Where Are They Now? by Jason Snell
|
|||
|
================================================
|
|||
|
|
|||
|
This issue of InterText is a milestone of sorts -- this marks
|
|||
|
the final time I'll be writing to you (and assembling this
|
|||
|
magazine) from San Diego, where I started this thing.
|
|||
|
|
|||
|
I'm done with my undergraduate education at UC San Diego, and
|
|||
|
it's time to move on. But before I leave here, I thought I'd use
|
|||
|
this column to mention the names of a few people who have been
|
|||
|
involved with this magazine, and mention what they're up to now.
|
|||
|
|
|||
|
The first issue's cover artist, Jeff Quan, left UCSD last year
|
|||
|
for a job at the Stockton Record newspaper. He is now the
|
|||
|
resident Macintosh Graphics Expert (and a staff illustrator,
|
|||
|
too) at the much larger Oakland Tribune newspaper. Jeff's been
|
|||
|
quite a success since his departure from San Diego; I can only
|
|||
|
hope that he's not the only one.
|
|||
|
|
|||
|
The cover artist for the balance of our issues, Mel Marcelo,
|
|||
|
doesn't have a job lined up yet, but he has completed his work
|
|||
|
at UCSD and will no doubt have a great job by the fall. Mel has
|
|||
|
also had graphics in just about every issue of U. -- The
|
|||
|
National College Newspaper this year, and will have a big
|
|||
|
graphic in U.'s summer orientation issue, sent out to all the
|
|||
|
incoming college freshmen in the United States. (As a sidelight,
|
|||
|
a column by your humble editor is also in there, and I will
|
|||
|
likely be a contributor to U. from Berkeley.)
|
|||
|
|
|||
|
One of our main contributors for the first three issues of
|
|||
|
InterText was Greg Knauss, a person described by his "about the
|
|||
|
author" blurb as being "loopy as a loon." (I might mention here
|
|||
|
that most "about the author" blurbs are written by the authors
|
|||
|
themselves -- but I chose to write goofy little blurbs about
|
|||
|
Greg myself. He didn't appreciate it, I think.)
|
|||
|
|
|||
|
Anyway, Greg graduated from UCSD last year and is now
|
|||
|
greg@duke.quotron.com -- yes, he's put his degree in Political
|
|||
|
Science (with an emphasis on Political Theory) to work as a
|
|||
|
programmer for Quotron, Inc., where he can be a Political
|
|||
|
Science major surrounded by Computer Science majors... Greg's
|
|||
|
still loopy as a loon, but his new job has pretty much drained
|
|||
|
all of the time he used to spend on hanging around my office,
|
|||
|
wasting time, and writing goofy stories like the ones we printed
|
|||
|
in InterText.
|
|||
|
|
|||
|
Philip Michaels, author of last issue's "Your Guide to High
|
|||
|
School Hate," was recently elected as the 1992-93 opinion editor
|
|||
|
of The UCSD Guardian. I wish him the best luck in the coming
|
|||
|
year.
|
|||
|
|
|||
|
You will notice that the name of Phil Nolte, my sometime
|
|||
|
Assistant Editor, disappeared from our staff box last issue.
|
|||
|
Phil's large workload and tenuous network connection makes it
|
|||
|
impossible for him to do the volume of work that Geoff Duncan
|
|||
|
does for the magazine. When Phil's workload eases or his
|
|||
|
computer link changes, we may see him back to that position. As
|
|||
|
it is, I'm going to refer to him as a "contributing editor," a
|
|||
|
venerated position in magazines, reserved for only the most
|
|||
|
revered.
|
|||
|
|
|||
|
Geoff Duncan, my Assistant Editor and a person who should be
|
|||
|
credited with doing a vast amount of work on this magazine, has
|
|||
|
wrapped up his year-long job at Oberlin College's computer lab
|
|||
|
and is now hoping to hook on with a computer company located on
|
|||
|
the West Coast. (Gee, aren't most of them?) As a result, his
|
|||
|
electronic mail address will disappear for awhile, though he can
|
|||
|
still be contacted through me. Hopefully by next issue both
|
|||
|
Geoff and I will be ensconced in our new locales, ready to go.
|
|||
|
|
|||
|
This issue is dated July-August 1992, so it may be a bit of a
|
|||
|
mystery as to why it's coming out in mid-June. The answer is
|
|||
|
simple -- it's an attempt by me (and I think it helps Geoff,
|
|||
|
too) to get InterText done before I move about 500 miles away
|
|||
|
from the nearest UCSD ethernet dial-up line. While I'll still be
|
|||
|
dialing in, uploading the massive InterText files is a chore I'd
|
|||
|
rather not to from far away.
|
|||
|
|
|||
|
Our next issue is very tentatively planned for September, though
|
|||
|
unforeseen circumstances could put that off. I've yet to
|
|||
|
discover what classes I'll be taking in the fall, or where I'll
|
|||
|
be living, or just what kind of computer access I'll get at UC
|
|||
|
Berkeley. As a result, we'll just have to play it all by ear.
|
|||
|
But one way or another, you'll be seeing a Vol. 2, No. 5 of
|
|||
|
InterText come fall.
|
|||
|
|
|||
|
In two days, I'll pack all of the possessions that I've
|
|||
|
accumulated over the past three years into a truck. The day
|
|||
|
after that, I'll spend two hours in the sun, sitting through my
|
|||
|
graduation ceremony. And the day after that, I'll make the
|
|||
|
arduous 500-mile drive northward, to home.
|
|||
|
|
|||
|
It will be a drive through the high deserts of eastern Los
|
|||
|
Angeles county, through fertile San Joaquin Valley farmland,
|
|||
|
cities like Bakersfield and Fresno, and, eventually, to a tiny
|
|||
|
town nestled in the foothills of the Sierra Nevada mountain
|
|||
|
range. The place where I grew up, far away from the place where
|
|||
|
I've made good friends, done a lot of work, grown quite a bit --
|
|||
|
and started an interesting little computer magazine.
|
|||
|
|
|||
|
No doubt things will change with you, too, between now and the
|
|||
|
next time we meet. We'll be back here, electronically speaking,
|
|||
|
in a few months. Until then, I wish you well.
|
|||
|
|
|||
|
|
|||
|
Jason Snell
|
|||
|
-------------
|
|||
|
|
|||
|
Jason Snell has graduated Cum Laude and Phi Beta Kappa from the
|
|||
|
University of California, San Diego, with a B.A. in
|
|||
|
Communication and a minor in Literature/Writing. He will work as
|
|||
|
an intern at his hometown newspaper, the Union Democrat, this
|
|||
|
summer, and will attend UC Berkeley's Graduate School of
|
|||
|
Journalism beginning in August. He writes this biography blurb
|
|||
|
at the end of his column both to fill space and to allow readers
|
|||
|
to ignore these lapses into egotism.
|
|||
|
|
|||
|
|
|||
|
One Person's Junk... by Warren Ernst
|
|||
|
=======================================
|
|||
|
|
|||
|
"And this is the third time I've put in a request for more DNA.
|
|||
|
My sample will completely degenerate in less than a week!" Faye
|
|||
|
started to raise her voice as small droplets of saliva flew from
|
|||
|
her teeth and clung to her comm panel. "Just because I'm here
|
|||
|
doesn't mean that I have any less priority for raw materials
|
|||
|
than anyone else!"
|
|||
|
|
|||
|
Her next sentence might have begun, "And another thing..." if
|
|||
|
her Hypno-Chip hadn't cut in and swept her away.
|
|||
|
|
|||
|
"Sleep now..." it whispered into her auditory nerve, still
|
|||
|
monitoring her. Faye's adrenaline level and pulse rate were
|
|||
|
slightly below activation levels, but this time her brainwaves
|
|||
|
set the small silicon wafer off. "You're now feeling very
|
|||
|
comfortable, very warm, very safe, very relaxed. With every
|
|||
|
breath you can just feel yourself getting more and more relaxed,
|
|||
|
falling deeper and deeper into a soothing, relaxed state..."
|
|||
|
|
|||
|
While orderlies quickly ushered themselves into Faye's room, the
|
|||
|
Hyp-Chip continued to soothe her. "While in this comfortable
|
|||
|
state, you find it easy to imagine yourself doing anything,
|
|||
|
anywhere you wish." The orderlies picked up Faye's limp body. "I
|
|||
|
want you to imagine yourself resting in a comfortable, wide
|
|||
|
hammock, strung between two great oaks, on top of a rolling,
|
|||
|
green hill. As you look up, you can see the warm breeze shifting
|
|||
|
the branches above you, causing yellow rays of sunlight to shine
|
|||
|
down onto your face."
|
|||
|
|
|||
|
"I wonder what got 'er that time?" asked one orderly gently to
|
|||
|
the other. "My money's on alpha waves. She was startin' to get
|
|||
|
steamed there."
|
|||
|
|
|||
|
"Doesn't surprise me," said the other. "You've gotta be real
|
|||
|
uptight to get the Nobel at this age." He chuckled quietly,
|
|||
|
reaching as if to touch Faye intimately. They both knew that
|
|||
|
while she was under hypnosis, they could shake her silly and she
|
|||
|
wouldn't "awaken," but it was difficult to dispel the impression
|
|||
|
that Faye was simply asleep. After all, the orderly thought, it
|
|||
|
looks like she was just napping.
|
|||
|
|
|||
|
Faye relaxed on her hammock, smelling the delightful spring air.
|
|||
|
Baby birds chirped in a nest above her, singing, she could
|
|||
|
swear, "Row, Row, Row Your Boat."
|
|||
|
|
|||
|
From someone very close by, she heard "Just above, you see that
|
|||
|
there are exactly 100 leaves." She could see them all. Of
|
|||
|
course, she thought, one hundred. "Now I want you to count them
|
|||
|
down, starting from 100, and as you count each leaf, you will
|
|||
|
feel ten times more relaxed than before, all the way down to
|
|||
|
one. Let's begin... 100... 99..."
|
|||
|
|
|||
|
|
|||
|
Faye awoke gently, finding herself on a new bed, but one made up
|
|||
|
with her old sheets. The wallpaper seemed different too.
|
|||
|
|
|||
|
I hadn't done any of the rooms with this, she thought. She
|
|||
|
slowly lifted herself off her bed and stepped to the window,
|
|||
|
throwing the switch from opaque to clear. She wanted to simply
|
|||
|
look out, and maybe see, oh, rolling hills and trees, maybe some
|
|||
|
birds too.
|
|||
|
|
|||
|
Instead she saw the institution, its low, beige buildings
|
|||
|
sprawling every which way, with only a patch of grass here and
|
|||
|
there. More disquieting to Faye, however, were the bars.
|
|||
|
|
|||
|
"What are bars doing here? Where am I? Phil!"
|
|||
|
|
|||
|
She glanced about the room, and heard a scream come from
|
|||
|
somewhere. And another scream. Then in rushed an alarmed man
|
|||
|
wearing a white lab coat. Not her Philip, she thought, but he
|
|||
|
seemed very familiar. Doctor someone or other.
|
|||
|
|
|||
|
He grasped her shoulders tightly.
|
|||
|
|
|||
|
"Who am I?" he politely demanded.
|
|||
|
|
|||
|
"Why, you're Doctor--" She searched for a name tag. Her eyes
|
|||
|
kept scanning him, settling on his lapel, "Ross?"
|
|||
|
|
|||
|
"Damn," he muttered, running his fingers through his dark hair,
|
|||
|
"it did it again. Faye. I want you to listen very closely and
|
|||
|
very carefully. OK? Are you ready? 'Command: Umdez.' "
|
|||
|
|
|||
|
"Your name is Faye Harrower, geneticist," he firmly said,
|
|||
|
removing the name tag. "You are being treated at The Methany
|
|||
|
Institute and recovering from a nervous breakdown you suffered
|
|||
|
seven months ago. My name is Dr. James Chandly." Dr. Chandly saw
|
|||
|
a glint of recognition in Faye's eyes, as if it were all coming
|
|||
|
back to her, and let out a deep breath. "Do you remember, Dr.
|
|||
|
Harrower?"
|
|||
|
|
|||
|
"Doctor, I am trying to retain my composure as best I can," she
|
|||
|
said, "but that's the third time this week that Hyp-Chip decided
|
|||
|
to step out for lunch and leave me in limbo. For the third time
|
|||
|
in as many days I woke up thinking I was still home, but some
|
|||
|
colorblind idiot redecorated the place. And this is the third
|
|||
|
time I've impressed upon the project my need for more DNA. They
|
|||
|
haven't told you anything, have they?" she said, lightening her
|
|||
|
tone. "They must know by now how low... they must know...
|
|||
|
they..."
|
|||
|
|
|||
|
Faye felt the stinging of tears against the insides of her eyes,
|
|||
|
and she blinked, hard. Cool down, she thought, get control. You
|
|||
|
don't need to nap on the hammock again so soon. She took a deep
|
|||
|
breath, letting the furrows on her brow smooth. A new angle of
|
|||
|
attack occurred to her, and she said softly, "Didn't you say
|
|||
|
that working on the project was good for me, Dr. Chandly? Maybe
|
|||
|
-- maybe you could say something for me? Maybe cut through some
|
|||
|
red tape?"
|
|||
|
|
|||
|
"Well, I have thought about rattling some terminals for you; I
|
|||
|
think I could speed some things along. Let me see what I can
|
|||
|
do." He smiled warmly to her, and started to leave her room.
|
|||
|
|
|||
|
"And the chip," she asked, "can you do something about it? Get
|
|||
|
me a new one, perhaps?" She scratched behind her ear, as if she
|
|||
|
might affect it by touching the skin covering it.
|
|||
|
|
|||
|
Dr. Chandly looked thoughtful for a moment, leaning against the
|
|||
|
door. His hand went for his chin, as if he was stroking the
|
|||
|
beard he used to have. "I think you're ready for something a
|
|||
|
little less heavy-handed. I'll have it reprogrammed tonight. It
|
|||
|
will let you relax wherever you want for however long you want
|
|||
|
using your memories as backdrop. This one won't leave you fuzzy
|
|||
|
afterward. All right?"
|
|||
|
|
|||
|
She nodded slightly, withholding a supreme feeling of
|
|||
|
accomplishment behind her small smile. This is a real sign of
|
|||
|
improvement, she thought, the first in a long time.
|
|||
|
|
|||
|
"Oh, and one more thing, Dr. Harrower. You do know about Philip,
|
|||
|
don't you? You do remember what the situation is?"
|
|||
|
|
|||
|
"What? Oh, yes. Did I call out for Mr. Harro-- um, him just
|
|||
|
now?" That bastard, that son of a bitch, she thought, trying to
|
|||
|
suppress a sudden trembling in the pit of her stomach. How could
|
|||
|
Phil, after 23, um, 22 years, up and do that to me? She sat down
|
|||
|
on her firm bed, her smile now noticeably gone. "Yes, I
|
|||
|
remember. Thank you, Doctor."
|
|||
|
|
|||
|
Her door closed, and she heard it latch shut and lock. And she
|
|||
|
cried.
|
|||
|
|
|||
|
Two.
|
|||
|
------
|
|||
|
|
|||
|
Fresh DNA arrived from the Human Genome Mapping Project
|
|||
|
coordinator herself, or at least from her office. A long letter
|
|||
|
of apology was transcribed for Faye, but as with all Faye's
|
|||
|
contact with the outside, it was screened and in this case,
|
|||
|
heavily edited. Faye never saw the point of this concerning
|
|||
|
messages of a technical or official nature, and it seemed to her
|
|||
|
that this note from the Coordinator was both.
|
|||
|
|
|||
|
"CLAUDE," Faye asked in the direction of her computer, "are you
|
|||
|
sure you can't get the original text of this letter displayed?"
|
|||
|
|
|||
|
CLAUDE, for its part, tried to requisition a copy of the
|
|||
|
original letter from COREY, Methany's central computer core, but
|
|||
|
COREY had the final word in these matters, and if the letter was
|
|||
|
for Faye, the word was "no."
|
|||
|
|
|||
|
"Access denied, Doctor. It is not permissible for you to view
|
|||
|
the original letter, by order of Dr. Chandly and the rest of the
|
|||
|
staff. Would you like to see the edited version again?"
|
|||
|
|
|||
|
"No, that's all right, CLAUDE." Faye grinned inwardly, glad that
|
|||
|
there was at least some recognition of her professional title
|
|||
|
once in a great while, even if only from a stupid computer. "It
|
|||
|
was only something like 'Sorry for the mix-up, blah-blah, I
|
|||
|
appreciate your contribution to the Project, blah-blah, I'm very
|
|||
|
happy that you can personally complete the Harrower Rung after
|
|||
|
all, blah-blah, Get well soon, blah-blah, Maybe something
|
|||
|
interesting will show up in your Rung, blah-blah, Sincerely,
|
|||
|
Janice Brooke, blah-blah-blah-blah.'"
|
|||
|
|
|||
|
"To what letter are you referring?" asked CLAUDE, "There have
|
|||
|
been no letters that you have read which contained the
|
|||
|
expression 'blah- blah.' In fact, Dr. Chandly has never
|
|||
|
transcribed those words before."
|
|||
|
|
|||
|
Such a bland computer, Faye thought, sighing. My personal model
|
|||
|
has much more personality, even had the makings of a sense of
|
|||
|
humor thanks to Phil... damn. I sure could use him -- CHIP, I
|
|||
|
mean. Phil can rot in Hell. "Never mind, CLAUDE. Are you up to
|
|||
|
getting back to the rung?"
|
|||
|
|
|||
|
"We may continue sequencing your rung in twelve minutes, which
|
|||
|
is when the new genetic material will be fully immersed and the
|
|||
|
bare DNA liberated," CLAUDE reported. Somewhere in one of
|
|||
|
Methany's laboratories, technicians prepared the new batch for
|
|||
|
analysis, placing the pod cradling the genetic material into the
|
|||
|
scanning sequencer, which fed raw information into CLAUDE, which
|
|||
|
in turn fed filtered information to Faye. Or so CLAUDE informed
|
|||
|
Faye as it occurred.
|
|||
|
|
|||
|
"All right, are we ready to go yet?" she asked fifteen minutes
|
|||
|
later. Faye always liked to keep herself busy, and here at
|
|||
|
Methany, these were the only two hours a day she could. Doctor's
|
|||
|
orders.
|
|||
|
|
|||
|
"Yes, the matrix has assimilated properly," said CLAUDE. "We may
|
|||
|
proceed, Doctor."
|
|||
|
|
|||
|
"Very good," sighed Faye. "Now where were we? Oh, at RungStart
|
|||
|
plus 410,211. CLAUDE, throw up visual display beta and start
|
|||
|
spinning the sequencer."
|
|||
|
|
|||
|
And so work continued on Faye's section of the human genome, her
|
|||
|
"rung" it was called, as in the rung of a ladder. That's all the
|
|||
|
DNA was, a molecules-thick ladder, except that in the human
|
|||
|
genome, the ladder had three billion steps. Each "step" was a
|
|||
|
nucleotide base pair, every three a codon, every 20 to 200 a
|
|||
|
gene, every several thousand or so a genetic trait, and every
|
|||
|
million a Rung. Each geneticist on the Project was responsible
|
|||
|
for mapping out their Rung, and after the 3000 Rungs were
|
|||
|
complete, presumably all there would be to know about humanity's
|
|||
|
DNA would be known, all the codes decoded, all the mysteries
|
|||
|
solved.
|
|||
|
|
|||
|
Obviously entire chromosomes were cut to pieces, there only
|
|||
|
being 42 of them in humans, but occasionally Rungs had within
|
|||
|
them the whole code for something substantial. In her Rung, Faye
|
|||
|
found the mechanism whereby hair loosens and falls out at a
|
|||
|
given length, the procedure to make red blood cells, and all the
|
|||
|
code for a functional sixth finger, although that one went very
|
|||
|
recessive maybe a hundred thousand years ago. Sometimes the
|
|||
|
small tidbits of information like these made the project seem
|
|||
|
interesting, worthwhile; it broke down the tedium of having to
|
|||
|
sort through a million repetitive chemical bonds.
|
|||
|
|
|||
|
"Okay," started Faye, "so that pair's a T, then an A, and then a
|
|||
|
G -- another Stop Codon. What's it look like to you, CLAUDE?"
|
|||
|
|
|||
|
To CLAUDE, it resembled a Thymine-adenine pair, followed by an
|
|||
|
Adenine-thymine, and a Guanine-cytosine after that. However,
|
|||
|
CLAUDE could only be 99.4% certain of its interpretation of the
|
|||
|
data, hence the reason for any human involvement in the project
|
|||
|
at all. Assuming this codon was a T-A-G, then Faye's conclusion
|
|||
|
matched CLAUDE's; this string of genetic code would, in fact,
|
|||
|
end here. "Yes, I concur, Doctor. This is a Stop Codon, ending
|
|||
|
the sequence of amino acids producing phenzotase. The total
|
|||
|
number of base pairs in the sequence is 624, beginning at
|
|||
|
RungStart plus 409,590 and--"
|
|||
|
|
|||
|
"Thank you, CLAUDE," Faye interrupted, "I'll ask you for the
|
|||
|
math when I need it." She wondered why CLAUDE did that, kept
|
|||
|
such careful track of irrelevant numbers and then reported them
|
|||
|
so earnestly. Numbers have their place, she thought, and that's
|
|||
|
nowhere near me.
|
|||
|
|
|||
|
"Okay, CLAUDE, start sequencing again, Display gamma, and stop
|
|||
|
when you find an A-T-G." She leaned back in her chair and
|
|||
|
waited. Generally, there was some noncoding intron,
|
|||
|
affectionately called Junk DNA, between the chunks of active DNA
|
|||
|
that actually translated into amino acids. The junk ended when a
|
|||
|
Start Codon, A-T-G, was found. Junk DNA averaged 300 base pairs
|
|||
|
long, but one chain of junk found in the Marshal Rung numbered
|
|||
|
more than 36,000.
|
|||
|
|
|||
|
After five minutes of reclining, Faye noticed the screen wink
|
|||
|
out, though CLAUDE's "thinking" indicator light flashed
|
|||
|
furiously, indicating a flurry of electronic activity. Well,
|
|||
|
this intron's a lot bigger than average, she thought.
|
|||
|
|
|||
|
After an hour of silent, though relaxed, pacing, Faye needed to
|
|||
|
talk. "Ummmmmm, CLAUDE, still sorting through the junk, huh?"
|
|||
|
|
|||
|
CLAUDE's screen jumped to life, though still quite devoid of
|
|||
|
information, and said, "That is correct Doctor. I have so far
|
|||
|
sequenced 12,060 base pairs without finding a Start Codon.
|
|||
|
Furthermore--"
|
|||
|
|
|||
|
"Wait just a minute, though. What are the odds you missed the
|
|||
|
Codon entirely, and are now running through active code?"
|
|||
|
|
|||
|
"In my present mode," answered CLAUDE, "the likelihood of this
|
|||
|
occurring is approximately 6,210,000 to one against." The
|
|||
|
"thinking" light blinked for a moment, then stopped, as CLAUDE
|
|||
|
awaited instruction.
|
|||
|
|
|||
|
"All right, I can live with those odds. You can keep sequencing
|
|||
|
through the night, can't you?" After all, she reasoned to
|
|||
|
herself, no point in wasting tomorrow's allotment of
|
|||
|
work-therapy time just sitting around checking over an endless
|
|||
|
line of junk.
|
|||
|
|
|||
|
This request was a new one for CLAUDE, but after consulting
|
|||
|
COREY it said, "That would be possible, but I cannot accurately
|
|||
|
estimate a time of completion."
|
|||
|
|
|||
|
"Just get to it, CLAUDE, and I'll get back to you tomorrow.
|
|||
|
Bye," she said, realizing that the day's interactive time was
|
|||
|
almost up. "Oh, can you summarize what you've found about this
|
|||
|
junk so far, and put it in some sort of chart or table, please?"
|
|||
|
Faye wondered why she'd asked so politely. She knew CLAUDE would
|
|||
|
comply instantly without complaining. Chalk it up to a lack of
|
|||
|
staff, she thought.
|
|||
|
|
|||
|
"Certainly, Doctor," CLAUDE said, displaying a summary on
|
|||
|
screen, "Goodnight."
|
|||
|
|
|||
|
But this is wrong, she thought, studying the screen. This
|
|||
|
couldn't be; CLAUDE must have goofed something up. Where are all
|
|||
|
the C's in this thing? Faye had already shut down CLAUDE for the
|
|||
|
day, so she was left to figure the math herself in her head.
|
|||
|
|
|||
|
Overall, she thought, of the four base pair combinations A, T,
|
|||
|
G, and C, nothing more advanced than bacteria uses much more of
|
|||
|
one than another. In fact, after 22 Rungs, the level was
|
|||
|
something like 25 percent all around. And now here's this junk
|
|||
|
totally devoid of G's. In fact, the A's and C's are impossibly
|
|||
|
low too, each less than 5%. That leaves, oh my God, 90 percent
|
|||
|
T's. If CLAUDE is losing it, then the Rung won't get done for
|
|||
|
days while it gets debugged. Unless the sequencer is messed up.
|
|||
|
|
|||
|
Faye froze in mid-thought. Everything about her ground down to a
|
|||
|
standstill, except for her pulse rate. "Sleep now..." she heard
|
|||
|
softly. "As you enter this deeply relaxed state, you find that
|
|||
|
you are feeling very safe, very warm, and very comfortable..."
|
|||
|
The Hyp- Chip continued to weave its web as orderlies ran
|
|||
|
through their routine, scooping Faye up gently, placing her on
|
|||
|
her bed, and quietly slipping out the door. "In this state you
|
|||
|
can picture any scene and see yourself doing anything you want,
|
|||
|
either familiar and from memory or totally original..."
|
|||
|
|
|||
|
Faye passed through her laboratory and into her office in the
|
|||
|
Bio- Engineering Department at UNYA, and the lights turned
|
|||
|
themselves on.
|
|||
|
|
|||
|
"Hi Faye. It's good to see you looking so well," declared CHIP,
|
|||
|
as its screen lit up. "It's Saturday, June 20th. You have new
|
|||
|
mail, a lot of it in fact, though most of it is garbage."
|
|||
|
|
|||
|
"Thanks, CHIP. I know, mail piles up after two weeks," Faye
|
|||
|
said. She felt good, real good, and ready to dive into the Human
|
|||
|
Genome Mapping Project again. She sat in her chair in front of
|
|||
|
CHIP, but it felt a little too big for her now. Her smile grew
|
|||
|
bigger. "You really think so, about me looking good?"
|
|||
|
|
|||
|
CHIP navigated through the system to Faye's electronic mailbox,
|
|||
|
and responded, "Well, you know I don't have any feelings in the
|
|||
|
matter per se, but, in terms of what you told me you wanted to
|
|||
|
have done to yourself, all of the procedures appear successful.
|
|||
|
You look like you've lost 40 pounds. The collegen and enzyme
|
|||
|
treatments have rejuvenized your skin. Your hair is once again
|
|||
|
dark brown, thick, and long. The repolymerizing of your tissue
|
|||
|
with the silca implants appears very natural. In every respect
|
|||
|
you look twenty-five years younger. Oh, by the way," CHIP added,
|
|||
|
"both your Polymer and Reconstructive Surgeons e-mailed to say
|
|||
|
that your tissue samples are all in the green, and that you can
|
|||
|
consider yourself completely finished with treatment."
|
|||
|
|
|||
|
"Well, that is good news," Faye responded. "Do you know what I
|
|||
|
did with the rest of the Nobel money? Wardrobe. Never had so
|
|||
|
much fun shopping before. I bought everything: new skirts, new
|
|||
|
shorts, new blouses, new slacks, of course new bras, and even
|
|||
|
new shoes, my sizes have changed so much. Know what, CHIP? I
|
|||
|
even bought some lycra and a knock 'em dead evening gown. I
|
|||
|
don't think anyone there would have believed I'll be 57 next
|
|||
|
month."
|
|||
|
|
|||
|
"Mazeltov, Faye. And they say money can't buy happiness. Do you
|
|||
|
want to read your mail now?"
|
|||
|
|
|||
|
"Okay, but just the important letters." Faye tried to get
|
|||
|
comfortable in her chair, but, like everything else, it just
|
|||
|
didn't fit her anymore. "Oh, can you requisition a new chair
|
|||
|
from the University, something to handle a more svelte figure?"
|
|||
|
|
|||
|
"You got it. Here's the first relevant letter," announced CHIP,
|
|||
|
displaying it to the screen. It was from a friend, but its tone
|
|||
|
was all business and to the point. The gyne-genetic engineers
|
|||
|
could not de-integrate Faye's DNA into new haploid eggs, and
|
|||
|
while in the future the technology might exist to do so, Faye's
|
|||
|
menopause was, for the time being, permanent.
|
|||
|
|
|||
|
She closed her eyes, exhaled deeply through her nose, and placed
|
|||
|
her hand on her newly smoothed and flattened belly. Damn, she
|
|||
|
thought, they were my last chance. Well, at least the rest of me
|
|||
|
is young again. Look at the bright side: ha-ha, no more stained
|
|||
|
underwear to worry about; my new panties are safe. Faye tried to
|
|||
|
stop her grimacing, asking CHIP for the next letter, but a smile
|
|||
|
didn't come easy.
|
|||
|
|
|||
|
The next several letters were personal, and Faye's newfound
|
|||
|
enthusiasm didn't shine through at first, but by her fifth, she
|
|||
|
seemed as elated as when she first sat down.
|
|||
|
|
|||
|
"This last letter is interdepartmental, from the head honcho
|
|||
|
himself: Dr. Horner," said CHIP. "Want me to delete it?"
|
|||
|
|
|||
|
"No, better let me see what Jason has to say." More fluff,
|
|||
|
thought Faye, a general morale booster, a new grad student
|
|||
|
Melinda someone- or-other is our newest intern... oh wait, a
|
|||
|
little something welcoming me back. At least it's nothing
|
|||
|
embarrassing. "It says here that everyone else's rungs are
|
|||
|
getting sequenced pretty well. One of them is even done."
|
|||
|
|
|||
|
"Yep, though despite your absence, you've decoded more than most
|
|||
|
everyone," answered CHIP.
|
|||
|
|
|||
|
"That's because I enjoy it. And speaking of which, let's do a
|
|||
|
little work on the Rung before I go home. I think Phil's in for
|
|||
|
a surprise when he sees me now, a week ahead of time."
|
|||
|
|
|||
|
"I should say so, Faye. I'm firing up the sequencer now."
|
|||
|
Through the door from the lab, a machine growled to life,
|
|||
|
revving up to speed. "When you left we had come across some
|
|||
|
junk. It was sort of long-ish, and these first 453 base pairs
|
|||
|
are really unusual."
|
|||
|
|
|||
|
"Oh yeah, all those C's and that pattern after it," remembered
|
|||
|
Faye. "You make anything of it?"
|
|||
|
|
|||
|
"Yes, and you might find it interesting. That pattern after the
|
|||
|
C's doesn't code for anything biological, but maybe for
|
|||
|
something else. It's a set of prime numbers."
|
|||
|
|
|||
|
Inside herself miles away, Faye's Hyp-Chip, satisfied with its
|
|||
|
patient's current status, released her from its trance. Faye
|
|||
|
fell asleep without stirring.
|
|||
|
|
|||
|
|
|||
|
Three.
|
|||
|
--------
|
|||
|
|
|||
|
Work continued on the Harrower Rung, after only a day's delay.
|
|||
|
Both CLAUDE and the sequencer checked out fine, and after
|
|||
|
surveying a section of the junk sequence personally, Faye felt
|
|||
|
that she wasn't chasing down a mere mistake, but something
|
|||
|
unusual, something worth studying further, an anomaly never
|
|||
|
before recorded in anyone else's Rung.
|
|||
|
|
|||
|
CLAUDE found a Start Codon after about 107,000 base pairs,
|
|||
|
making this the largest hunk of junk ever found, and that in
|
|||
|
itself warranted a further study. The first 400 and last 500
|
|||
|
base pairs were all C's, something also never seen before.
|
|||
|
|
|||
|
"The likelihood of this occurring randomly is 1.6 x 10^120 to
|
|||
|
one against," volunteered CLAUDE.
|
|||
|
|
|||
|
It's gotta be proud of itself when it does that, Faye thought;
|
|||
|
there's no other reason for it. She smiled and let CLAUDE
|
|||
|
indulge itself further, hoping the diversion would let a new
|
|||
|
hypothesis pop into her head.
|
|||
|
|
|||
|
"And the sequence between these beginning and ending numbers of
|
|||
|
Cytosine-guanine base pairs," continued CLAUDE, "is exactly
|
|||
|
106,387 base pairs long, a Casidak number which--"
|
|||
|
|
|||
|
"What's that, a Casidak number? I've never heard that one
|
|||
|
before," piped Faye. She leaned forward in her chair as CLAUDE
|
|||
|
explained.
|
|||
|
|
|||
|
"A Casidak number is any number which factors into two and only
|
|||
|
two different prime numbers other than itself and 1, the
|
|||
|
smallest of which is 6, which factors into 3 and 2. In the case
|
|||
|
of 106,387, the factors are 557 and 191."
|
|||
|
|
|||
|
CLAUDE droned on about other Casidaks, primitive positive roots
|
|||
|
of Casidaks, and prime numbers in general. CLAUDE displayed the
|
|||
|
first several base pairs of the 106,387, and something about the
|
|||
|
sequence struck Faye as soon as CLAUDE said "Prime numbers are
|
|||
|
one of the few abstract mathematical principles understood by
|
|||
|
most primitive cultures."
|
|||
|
|
|||
|
"T-A-T-A-A-T-A-A-A-T-A-A-A-A-A-T-A-A-A-A-A-A-A, that doesn't
|
|||
|
code for any useful amino acid chain," Faye mumbled, thinking
|
|||
|
aloud. "But, oh my God, those right there are some prime
|
|||
|
numbers! A whole bunch of them, right CLAUDE? Look at this set
|
|||
|
right here," she said raising her voice in excitement and
|
|||
|
touching the screen, "there's 1 A, then 2, then 3, then 5, and
|
|||
|
then 7 A's, you see the pattern, don't you?"
|
|||
|
|
|||
|
"Yes, I do," CLAUDE replied. "The chance of this sequence
|
|||
|
randomly occurring are approximately 2.6--"
|
|||
|
|
|||
|
"Fine, fine, fine, CLAUDE, I get the picture." Faye didn't want
|
|||
|
any more huge numbers breaking her chain of thought. "There's a
|
|||
|
greater chance of me getting run over by a hoverbus than this
|
|||
|
happening completely by chance, apparently, okay, okay. Does
|
|||
|
this, uh, pattern occur at any other point in the junk?"
|
|||
|
|
|||
|
CLAUDE's thinking light flashed as it surveyed the junk. "No,
|
|||
|
Doctor, this is the only such arrangement in the junk sequence,"
|
|||
|
it answered. "And to what hoverbus are you referring?"
|
|||
|
|
|||
|
"Never mind about the hoverbus, CLAUDE. There is no hoverbus. I
|
|||
|
wasn't talking to you anyway -- and don't ask me who I was
|
|||
|
talking to, got it? Ok, how do you account for these--" How
|
|||
|
would I classify this anyway? Faye thought. There's no set
|
|||
|
category for this kind of code. "--unusual sections, the C's and
|
|||
|
the primes?"
|
|||
|
|
|||
|
"I am not capable of answering that question, Doctor, due to a
|
|||
|
lack of data," CLAUDE answered mechanically, "however I can
|
|||
|
offer some suggestions which you may conclude upon."
|
|||
|
|
|||
|
"All right. Fire away, CLAUDE."
|
|||
|
|
|||
|
Faye ambled around her room, brushing dust off her newly
|
|||
|
acquired knick-knacks, while shooting down possible explanations
|
|||
|
much faster than CLAUDE could send them her way. After about 20
|
|||
|
suggestions, Faye was glancing through her photo album.
|
|||
|
|
|||
|
"Recombinant obligate intracellular parasites?"
|
|||
|
|
|||
|
"A virus? That could account for the phenomenon, but not the
|
|||
|
actual sequence. This stuff wouldn't code for anything useful to
|
|||
|
a virus." She turned a page.
|
|||
|
|
|||
|
"Extreme missense mutation?"
|
|||
|
|
|||
|
"Nope. That might re-write a section of DNA, but the resulting
|
|||
|
pattern would be just as random as the original." Faye smiled,
|
|||
|
thinking of the story behind that photo of the stripper her co-
|
|||
|
workers got for her surprise birthday party. God, was I over the
|
|||
|
hill then, she thought, sighing.
|
|||
|
|
|||
|
"Errors in Okazaki Fragment placement from DNA ligase?"
|
|||
|
|
|||
|
"Possible for small repeating fragments, but certainly not for a
|
|||
|
couple hundred C's or those primes. And besides, this sequence
|
|||
|
isn't just in one human's sample; it's everyone's." Faye looked
|
|||
|
up from her album, still remaining seated. "That's one of the
|
|||
|
reasons why the Human Genome Mapping Project exists; the samples
|
|||
|
The Project distributes are representative, a collection of DNA
|
|||
|
from tens of thousands of people. Individual differences are a
|
|||
|
moot point. You're talking about things that affect just an
|
|||
|
individual's DNA; not a whole species', not all of mankind's."
|
|||
|
|
|||
|
"Any one of these conditions might have occurred some time ago,"
|
|||
|
responded CLAUDE. "The older the genetic modification, the more
|
|||
|
representative it would be today. It is a simple matter of
|
|||
|
inherited traits, or in this case, genes."
|
|||
|
|
|||
|
"Can you break down the sample, CLAUDE, determine what
|
|||
|
percentage of it has this junk?" Maybe we can see how far back
|
|||
|
this junk came to be, she thought. Faye settled back down into
|
|||
|
her chair, slowly turning pages.
|
|||
|
|
|||
|
CLAUDE stopped thinking, and declared "Almost 100 percent of the
|
|||
|
sample possesses this sequence of junk, Doctor, indicating this
|
|||
|
junk was present from the earliest times of mankind's
|
|||
|
development, most likely in the first examples of Homo Sapiens."
|
|||
|
|
|||
|
Faye looked up, startled that CLAUDE would make such a sweeping
|
|||
|
conclusion. Wait, she thought; statistically speaking, that
|
|||
|
would have to be the case. "Humanity's last evolutionary jump,"
|
|||
|
she said softly, "was about 120,000 years ago, and apparently
|
|||
|
this junk was along for the ride." As she pondered it, she
|
|||
|
asked, "Any more ideas about how it got there?"
|
|||
|
|
|||
|
CLAUDE settled into its "suggesting how the junk got this way"
|
|||
|
mode, and Faye settled back into her scrapbook.
|
|||
|
|
|||
|
"Histone contamination?"
|
|||
|
|
|||
|
"Couldn't make something this long, plus the changes would be in
|
|||
|
a lot more places than just here in this junk." Faye found
|
|||
|
another photo of a lab party, celebrating the completion of the
|
|||
|
department's first Rung. It was a big occasion, and would bring
|
|||
|
the department more prestige and funding that it had ever known.
|
|||
|
Everyone was there, including families and support personnel. It
|
|||
|
was her unveiling too, and heads turned as friends and
|
|||
|
colleagues recognized that stunning, curvy brunette with Phil as
|
|||
|
Faye. And there in the background was Jason, introducing Melinda
|
|||
|
to Phil. That asshole, Faye thought. Wait, Melinda? Was this the
|
|||
|
first time they met? Jason introduced them? Why I didn't figure
|
|||
|
it out until now?
|
|||
|
|
|||
|
"Genetic engineering?"
|
|||
|
|
|||
|
"What?"
|
|||
|
|
|||
|
"Genetic engineering. It is my last suggestion," said CLAUDE.
|
|||
|
|
|||
|
"But 120,000 years ago?" was all Faye remembered murmuring. Her
|
|||
|
mind, for the moment, raced. Well Melinda is beautiful -- and
|
|||
|
young, real youth... and blooming. Look at how she's looking at
|
|||
|
him! What chance could I have had? she thought. Faye's eyes felt
|
|||
|
hot on the insides, and her last thought was "Again?" as the
|
|||
|
Hyp-Chip kicked in and brought her down.
|
|||
|
|
|||
|
"Sleep now..." the chip suggested, almost knowing Faye possessed
|
|||
|
no real power to resist. It continued through its routine, "In
|
|||
|
this state you can picture any scene and see yourself doing
|
|||
|
anything you want, either familiar and from memory or totally
|
|||
|
original..."
|
|||
|
|
|||
|
|
|||
|
Four.
|
|||
|
-------
|
|||
|
|
|||
|
"Hi CHIP," said Faye as she walked into her office, "how goes
|
|||
|
the junk?"
|
|||
|
|
|||
|
"Good morning Faye. It's Monday, June 22nd," responded CHIP,
|
|||
|
"You have new mail -- just a note from Dr. Horner, though. And I
|
|||
|
can't wait to talk to you about the junk."
|
|||
|
|
|||
|
"Yes you can, CHIP," said Faye, not missing a beat, "for just
|
|||
|
long enough to tell me what Jason wants."
|
|||
|
|
|||
|
"Oh, all right. He just wants you stop by his office sometime
|
|||
|
before lunch. Can I delete the message now?" CHIP sure seems,
|
|||
|
well, chipper today, Faye thought.
|
|||
|
|
|||
|
"Fine, fine, go ahead. Now, what about the junk?"
|
|||
|
|
|||
|
"Well first of all, I sorted through all the junk, and that took
|
|||
|
almost all day yesterday. Total number of base pairs before the
|
|||
|
next active sequence of DNA: 107,287."
|
|||
|
|
|||
|
"That's huge," interrupted Faye.
|
|||
|
|
|||
|
"The biggest section of junk yet found, in fact. Remember those
|
|||
|
400 C's at the beginning? Well, there are 500 more at the end,
|
|||
|
leaving 106,387 in between. That's a Casidak number you know."
|
|||
|
|
|||
|
"Actually, I didn't," she said, repositioning her bra straps. I
|
|||
|
wish someone told me they would dig in more with the extra
|
|||
|
weight and all, Faye thought. She hoped it was just a matter of
|
|||
|
getting used to. "Should I?"
|
|||
|
|
|||
|
"Well, they're kind of obscure; I doubt a geneticist would have
|
|||
|
ever heard of them, though some astrophysicists are really big
|
|||
|
on them. Basically, it's a really big number that only divides
|
|||
|
into two big primes. So far so good?" asked CHIP.
|
|||
|
|
|||
|
"You haven't lost me yet."
|
|||
|
|
|||
|
"Excellent. Now, some astrophysicists, who observe other stars
|
|||
|
in their search for intelligent life, think that the first
|
|||
|
messages Earth will get will involve Casidaks. Here's why:
|
|||
|
astrophysicists assume that aliens would want to keep the
|
|||
|
message simple and easily decoded, without references to
|
|||
|
language, so they would send a picture." CHIP's screen cleared
|
|||
|
and formed a rectangle, with an "x" on a horizontal side and a
|
|||
|
"y" on a vertical. "So say you receive a message with a Casidak
|
|||
|
number of 0's and 1's, which is also easy to send across space,
|
|||
|
by the way; you can lay the whole sequence into a grid with x
|
|||
|
columns and y rows of 0's and 1's, just like filling up a sheet
|
|||
|
of graph paper. The 0's make up the background and the 1's make
|
|||
|
up the lines the picture is drawn with"
|
|||
|
|
|||
|
"Does this have a point?" Faye asked, wondering where this would
|
|||
|
lead.
|
|||
|
|
|||
|
"Sure it does," answered CHIP. "Between those C's are a Casidak
|
|||
|
number of T's and A's. Those primes just after the C's are what
|
|||
|
made COLLIN, the Physics Department's computer, wonder what
|
|||
|
running it though a Casidak Square might produce."
|
|||
|
|
|||
|
"Wait, you chat with other computers at night?"
|
|||
|
|
|||
|
"Just to keep busy. I don't chat about anything secret," CHIP
|
|||
|
said. Almost sheepishly, Faye thought. "But the point is COLLIN
|
|||
|
hit something. The resulting Casidak Square was 557 by 191 dots,
|
|||
|
and believe it or not, what I think is a picture resulted. Here
|
|||
|
it is."
|
|||
|
|
|||
|
CHIP's screen displayed the "drawing" encoded within the junk of
|
|||
|
her rung. The coarse resolution and lack of color looked out of
|
|||
|
place on CHIP's normally vibrant and animated display; the
|
|||
|
picture itself looked as if a someone had drawn figures on a
|
|||
|
sheet of printer paper with a thick crayon. Human figures,
|
|||
|
albeit stick figures, were definitely present. Along with some
|
|||
|
other, less readily identifiable ones.
|
|||
|
|
|||
|
"This is the real McCoy, no BS?" Faye questioned. "I still
|
|||
|
remember when you--"
|
|||
|
|
|||
|
"Not this time, Faye. Here's the numbers, you can see the
|
|||
|
corroboration yourself. See?" CHIP displayed a chart.
|
|||
|
|
|||
|
"Well, these numbers look all right, I suppose."
|
|||
|
|
|||
|
OK, let me work this out, she thought, displaying the picture
|
|||
|
again. That looks like a stooped-over man, like a weird
|
|||
|
hunchback with long arms, and there's an arrow pointing from it
|
|||
|
to this tall stick-figure man. And from that line, there's
|
|||
|
another arrow pointing to, whoa, what looks like an octopus? And
|
|||
|
what about this line here?
|
|||
|
|
|||
|
Hours later, Faye had a printout of the picture on Jason's desk,
|
|||
|
and interpreted it.
|
|||
|
|
|||
|
"Now let me get this straight," said Dr. Jason Horner. A little
|
|||
|
too loud for comfort, thought Faye. "You think this picture does
|
|||
|
the following: one, establishes a base ten counting system based
|
|||
|
on this character's fingers." He pointed to the upright stick
|
|||
|
figure. "Two, that this hunched-over character with the big
|
|||
|
forehead and thick arms is an early human, Homo Erectus." He
|
|||
|
pointed to the hunchback figure. "Three, that this octopus thing
|
|||
|
had something to do with the change of this hunched-over thing
|
|||
|
to this tall thing." His hand swept all over the paper. "Four,
|
|||
|
that this octopus thing comes from a star in this constellation,
|
|||
|
as seen from Earth." He pointed to a set of dots bearing a
|
|||
|
strong resemblance to Virgo. "Five, and that now someone should
|
|||
|
go to someplace that you and your computer say is off the Baja
|
|||
|
Californian coast and do something." Jason pointed to what
|
|||
|
looked like a map of the western coast of the Americas. "And
|
|||
|
six, that doing this will contact these octopus creatures or
|
|||
|
something?"
|
|||
|
|
|||
|
Faye had no idea that it sounded so stupid in context, but CHIP
|
|||
|
and she, with the help of COLLIN, had spent hours reasoning it
|
|||
|
out. She stood her ground. "It could be. I was planning on
|
|||
|
letting the astrophysicists across campus play with it. They've
|
|||
|
been looking for this kind of thing for decades. Let them be the
|
|||
|
judges."
|
|||
|
|
|||
|
"No way," Jason proclaimed, getting louder. "You may be on a hot
|
|||
|
streak, Mrs. Nobel Prize winner, but these sort of sensational
|
|||
|
conclusions can only make trouble for this department. Remember
|
|||
|
the University of Utah and their cold fusion claims, or UC San
|
|||
|
Diego's aquatic mammalian communication 'breakthroughs?' They
|
|||
|
lost all their academic credibility and respect after those
|
|||
|
fiascos." Jason began to pace around his office. "This
|
|||
|
department has just completed its first Rung for the Human
|
|||
|
Genome Mapping Project, with more on the way, and one of our
|
|||
|
staff, namely you, is a recent Nobel Prize winner. To throw all
|
|||
|
this prestige away by letting this 'alien picture' thing leave
|
|||
|
this office is academic, scientific, and financial suicide, and
|
|||
|
that's final."
|
|||
|
|
|||
|
I might not have had any problems with Jason before, thought
|
|||
|
Faye, but I can see why CHIP thinks about him the way it does.
|
|||
|
"That's right, I am Mrs. Nobel Prize winner," said Faye, raising
|
|||
|
her voice more than she had in a long time, "and I think that
|
|||
|
qualifies me to judge what is scientifically legitimate and what
|
|||
|
isn't!" Faye slammed the door on her way out.
|
|||
|
|
|||
|
"You have new mail," said CHIP, "interdepartmental in nature."
|
|||
|
|
|||
|
"Let me see it already. It's about the damn Rung Completion
|
|||
|
party isn't it?"
|
|||
|
|
|||
|
"Dr. Horner shot down the picture theory, didn't he?" CHIP
|
|||
|
asked, knowingly.
|
|||
|
|
|||
|
"It's more than that," stammered Faye. "He's got dollar signs in
|
|||
|
his eyes and he thinks that he can push me around, that he can
|
|||
|
keep this theory under wraps indefinitely."
|
|||
|
|
|||
|
"What are you going to do?"
|
|||
|
|
|||
|
"Well, the party is tomorrow night, so I can talk with some
|
|||
|
people, important and otherwise. Maybe Phil would have an idea."
|
|||
|
|
|||
|
"And to totally change the subject, was Phil surprised to see
|
|||
|
you?" questioned CHIP.
|
|||
|
|
|||
|
"Yeah, he was surprised, but not all that happy, I thought."
|
|||
|
Faye's voice lost the edge it had very recently acquired. "But
|
|||
|
that's not important now. I'm going home to cool off."
|
|||
|
|
|||
|
Faye returned to the labs the next night, wrapped in her evening
|
|||
|
gown, ready to schmooze and lobby. Phil knew what he was talking
|
|||
|
about, Faye thought. Hours into the gathering, Jason approached
|
|||
|
Faye and Phil with Melinda, and leaving Melinda with Phil, Jason
|
|||
|
invited Faye into his office in order to speak privately.
|
|||
|
|
|||
|
"I've been chatting with colleagues all night, Doctor Horner,"
|
|||
|
Faye said coldly, "and I think I have a strong enough leg to
|
|||
|
stand on to push this picture business through."
|
|||
|
|
|||
|
"Faye," Jason said smiling, "I've changed my mind. You're right,
|
|||
|
I think maybe you should shuttle it across campus, and see what
|
|||
|
they come up with."
|
|||
|
|
|||
|
"Wait, what's the catch?" she questioned.
|
|||
|
|
|||
|
"No catch, I've just had a change of heart. I consider you a
|
|||
|
valuable asset to this department, and therefore, your opinions
|
|||
|
are valuable to me as well." He poured two glasses of champagne,
|
|||
|
offering one to Faye. "But let's just keep it on campus, all
|
|||
|
right?"
|
|||
|
|
|||
|
She eyed the extended glass for a moment, and accepted it,
|
|||
|
taking a sip.
|
|||
|
|
|||
|
Faye felt funny as she slumped into one of Jason's chairs. Her
|
|||
|
senses suddenly numbed and she started shaking uncontrollably.
|
|||
|
|
|||
|
She saw Jason smile smugly as he poured his glass into a potted
|
|||
|
plant and turned toward his computer.
|
|||
|
|
|||
|
"CORBIN," he said, "I need to access to Dr. Harrower's files and
|
|||
|
notes. Copy them all to my location, deleting her originals,
|
|||
|
administrative clearance level sonza. I'll modify them later."
|
|||
|
|
|||
|
Faye tried to move, struggled to yell, fought to stop shaking,
|
|||
|
but she could not do anything.
|
|||
|
|
|||
|
"Now compose a letter to Janice Brooke, Coordinator of the Human
|
|||
|
Genome Mapping Project, something to the effect that
|
|||
|
unfortunately, due to a sudden mental or nervous breakdown
|
|||
|
probably resulting from extreme personal stress following
|
|||
|
dramatic physical reconstruction, Dr. Harrower will be unable to
|
|||
|
finish sequencing the last, oh," he calculated a number which
|
|||
|
would exclude the recently discovered junk, "700,000 base pairs.
|
|||
|
Please reassign the Harrower Rung, et cetera. You clean it up,
|
|||
|
CORBIN."
|
|||
|
|
|||
|
Jason turned to Faye, and said "What you've just drunk contains
|
|||
|
a little bug I whipped up yesterday, which is even now reacting
|
|||
|
with the trace anti-aging proteins still in your bloodstream,
|
|||
|
which will block all of this alien visitation nonsense from your
|
|||
|
memory once and for all." Jason grinned hard, looking Faye right
|
|||
|
in her trembling face. Unfortunately, the process will in all
|
|||
|
likelihood unbalance you mentally, but a good institute should
|
|||
|
be able to help you along. And," he added, "I think Melinda will
|
|||
|
be able to ease Phil's loss. She's quite the temptress; an
|
|||
|
effective tool, I've found."
|
|||
|
|
|||
|
Faye's Hyp-Chip had never sensed everything it monitored jump
|
|||
|
into the red so suddenly. As if by reflex, it totally shut Faye
|
|||
|
down, and she slammed into sleep.
|
|||
|
|
|||
|
|
|||
|
Five.
|
|||
|
-------
|
|||
|
|
|||
|
The charter boat Santa Maria bobbed gently in the Pacific,
|
|||
|
swinging Faye's hammock. Despite the cooling effect of the
|
|||
|
setting sun, she didn't shiver in her bikini.
|
|||
|
|
|||
|
"Sweet," she whispered, nuzzling Juan's ear, "I have to get up
|
|||
|
now and check the asgal device."
|
|||
|
|
|||
|
He turned slightly, allowing her to roll off onto the deck with
|
|||
|
both feet. "Si." She pulled part of her suit up from her ankles
|
|||
|
and went below.
|
|||
|
|
|||
|
The device registered the magnetron waves stronger than ever
|
|||
|
before, winking softly. She stepped to the uplink board, and the
|
|||
|
satellite pinpointed them to the fifth decimal place off the
|
|||
|
coast of Baja California.
|
|||
|
|
|||
|
It matches, she thought, putting her copy of the Casidak Square
|
|||
|
CLAUDE printed out back into her tote. There really is something
|
|||
|
to this map after all.
|
|||
|
|
|||
|
As she put the sheet away, her tote tipped, spilling some of her
|
|||
|
papers. No biggie, she thought, casually scooping them up. I'll
|
|||
|
have to frame these someday, she thought as she held Methany's
|
|||
|
release forms. She glanced at the charred remains of Phil and
|
|||
|
Melinda's wedding announcement in the ashtray on the console,
|
|||
|
noting that it burned differently than Phil's divorce papers and
|
|||
|
his pathetic, whining letters, and chuckled. And those too, she
|
|||
|
thought as she went topside, loosening her bikini again.
|
|||
|
|
|||
|
"Phil," she said looking at Juan, "eat your heart out."
|
|||
|
|
|||
|
|
|||
|
Warren Ernst (wernst@ucsd.edu)
|
|||
|
---------------------------------
|
|||
|
|
|||
|
Warren Ernst graduated from the University of California, San
|
|||
|
Diego on June 14, 1992 with a B.A. in Political Science. He now
|
|||
|
plans to look for some sort of gainful employment. Warren wrote
|
|||
|
this story, originally titled "Unsoccessive Sequential Events,"
|
|||
|
for a class in science writing. Warren is a friend of famed
|
|||
|
InterText writer/loon Greg Knauss. According to Greg, there are
|
|||
|
a few things in this world which have weathered the ages: the
|
|||
|
pyramids, Stonehenge, and Warren's hairstyle.
|
|||
|
|
|||
|
|
|||
|
Was by Ken Zuroski
|
|||
|
=====================
|
|||
|
|
|||
|
When I first saw her, she was walking through the park on a warm
|
|||
|
summer day. She was wearing a long dress and a small piece of
|
|||
|
multicolored twine around her wrist as a bracelet. I was alone,
|
|||
|
watching people in the crowd. She was surrounded by her friends
|
|||
|
and didn't notice me.
|
|||
|
|
|||
|
Half a year passed; we were introduced through a friend of a
|
|||
|
friend. Then one night as I was working late, the phone rang. I
|
|||
|
picked it up and it was her, asking me to dinner in a wobbly
|
|||
|
voice.
|
|||
|
|
|||
|
"You know," I said, "I think I'm going to take you up on that."
|
|||
|
|
|||
|
Over dinner, she told me that she didn't believe in God and that
|
|||
|
her favorite singer was Dylan. She had been in a terrible
|
|||
|
motorcycle accident when she was young, and now she didn't
|
|||
|
drive. She was studying to be a biomedical engineer. Also, her
|
|||
|
Walkman headphones weren't working and did I think I could fix
|
|||
|
them? I told her to bring them by tomorrow and I'd have a look.
|
|||
|
|
|||
|
I grew accustomed to waking with her body next to mine. She
|
|||
|
would always entwine herself about me, her head on my chest.
|
|||
|
Late at night, I would lie motionless, listening to the sound of
|
|||
|
her beating heart; somehow I was reassured.
|
|||
|
|
|||
|
"Who will love me when I'm old and bald?" I asked rhetorically,
|
|||
|
one day, gazing grimly into a mirror at my receding hairline.
|
|||
|
|
|||
|
I felt a kiss on the back of my head. "It's good luck to kiss
|
|||
|
your lover's bald spot," she said, laughing. And, after a
|
|||
|
moment, I laughed too.
|
|||
|
|
|||
|
At a bar one time, I sat on a stool, fidgeting nervously and
|
|||
|
watching as she, with sublime nonchalance, beat an astonished
|
|||
|
steelworker at a game of pool: one ball after another vanishing
|
|||
|
into the pockets in rapid succession, the challenger standing
|
|||
|
there furious, his swagger evaporated, his pride depleted.
|
|||
|
|
|||
|
We visited some friends who owned a cabin in the mountains. The
|
|||
|
hour was late, but she was anxious to begin the return trip; she
|
|||
|
had an exam to study for the next day. I was tired and wanted to
|
|||
|
sleep, but we climbed into my truck, pulled onto the highway,
|
|||
|
and headed for home.
|
|||
|
|
|||
|
She fell asleep immediately, her head in my lap. I drove alone
|
|||
|
through the empty country roads. The panel-lights glowed yellow-
|
|||
|
green; outside the truck, all was darkness.
|
|||
|
|
|||
|
I grew tired. I could barely hold my head aright. The truck was
|
|||
|
swerving and the lines on the highway blurred; I had to pull
|
|||
|
over to sleep. I switched the engine off, and the night was very
|
|||
|
still. I lay my head back and closed my eyes.
|
|||
|
|
|||
|
She stirred, and I felt a kiss on my knee. "Someone cares," I
|
|||
|
heard her sleepy voice say.
|
|||
|
|
|||
|
I peered up into the sky. Overhead, the stars blazed furiously
|
|||
|
-- hundreds, thousands, billions. "I care, Sue, very much," I
|
|||
|
said, and stroked her hair; but she was already asleep.
|
|||
|
|
|||
|
Then one day she came to me -- it doesn't really matter where.
|
|||
|
She hesitated for a moment, and then said uncertainly: "I don't
|
|||
|
feel the same way I used to."
|
|||
|
|
|||
|
I stared for a while at the tabletop, then at the floor. Then I
|
|||
|
stormed from the room, slamming the door open with the flat of
|
|||
|
my hand. I strode away with giant, prideful steps. I heard her
|
|||
|
call my name, but I didn't look back.
|
|||
|
|
|||
|
We had one or two more telephone conversations after that.
|
|||
|
Toward the end of the last, she began to cry. I was astonished.
|
|||
|
I said: "Why are you crying?"
|
|||
|
|
|||
|
"Because I love you," she wailed.
|
|||
|
|
|||
|
"If we love each other," I said, "then we can work it out." But
|
|||
|
she hung up a moment later.
|
|||
|
|
|||
|
|
|||
|
Ken Zuroski (kz08+@andrew.cmu.edu)
|
|||
|
-------------------------------------
|
|||
|
|
|||
|
Ken Zuroski is currently completing the requirements for a Ph.D.
|
|||
|
in Rhetoric at Carnegie Mellon, where he is studying the "folk
|
|||
|
psychologies" of graphic designers. He steals time from his
|
|||
|
thesis to write works of lugubrious fiction.
|
|||
|
|
|||
|
|
|||
|
Glow by Brian Tanaka
|
|||
|
=======================
|
|||
|
|
|||
|
Annabella stepped forth into the twilight. Five years old.
|
|||
|
Curiosity on two skinny legs.
|
|||
|
|
|||
|
Her home was a trailer propped uncertainly on cinder blocks in a
|
|||
|
backwater town. At the edge of a backwater town. And in the dark
|
|||
|
interior of the trailer her father was passed out. Drunk. Lost
|
|||
|
in a boozy nightmare. Inert at the folding kitchen table.
|
|||
|
Forehead pressed to the flaky, plastic, simulated wood grain.
|
|||
|
|
|||
|
And Annabella stepped forth into the twilight.
|
|||
|
|
|||
|
There were no other kids for company. No playgrounds nearby.
|
|||
|
Just a burnt-out warehouse, and a public garbage dump. She
|
|||
|
followed the gravel road up to the chain-link fence that
|
|||
|
surrounded the dump. The heavy stench from the heap, a smell so
|
|||
|
familiar to Annabella, was being pushed off away from her by a
|
|||
|
choppy breeze. She put her fingers up to the fence and walked
|
|||
|
slowly beside it; feeling her hand vibrate as it skimmed the
|
|||
|
links. A raccoon crawling out of the dump through a hole under
|
|||
|
the fence heard her coming and froze halfway out of the hole. Of
|
|||
|
the two, Annabella was the least startled, but she watched
|
|||
|
warily as the creature considered her, then jogged off into the
|
|||
|
low, leafy brush.
|
|||
|
|
|||
|
The hole under the fence was new and small. The kind of rut a
|
|||
|
raccoon would make. Or a dog, or a rabbit. The beige earth was
|
|||
|
dug away to form a U-shaped trough under the links, and the
|
|||
|
bottom of the fence was bent up and away to make a larger
|
|||
|
passage.
|
|||
|
|
|||
|
The evening was cold, and growing colder as it dipped into
|
|||
|
night. Annabella folded her arms across her body. She considered
|
|||
|
the hole, and continued on along the fence. But it wasn't long
|
|||
|
before she turned back and returned to the hole.
|
|||
|
|
|||
|
She gathered her skirt before her and crawled into the passage.
|
|||
|
Her head passed through easily, but her shoulders were just a
|
|||
|
bit too wide. She began pushing with her legs. Pushing. Pushing.
|
|||
|
At last she came free and emerged fully from the passage,
|
|||
|
crawling on her hands and knees.
|
|||
|
|
|||
|
The dump was a great, dark desert of garbage, with rolling dunes
|
|||
|
of used diapers, newspapers, washing machines, and rotting table
|
|||
|
scraps. Annabella climbed over the nearest dune. And the one
|
|||
|
after that. And in the descending darkness, from the crest of a
|
|||
|
stinking dune, she looked down into a ravine of refuse whose
|
|||
|
dark shadows were but a stage for a glow. Some slab of
|
|||
|
phosphorescent, fluorescent, green garbage. Some toxic waste
|
|||
|
tossed over the fence by disposal workers too lazy to drive the
|
|||
|
last five miles to the official toxic dump site for one measly
|
|||
|
slab of deadly whatever-it-is was glowing down there. Beckoning.
|
|||
|
|
|||
|
Annabella half-climbed, half-tumbled down the hill to the glow.
|
|||
|
It drew her to itself, charming her with its steady, light.
|
|||
|
Trailer park Annabella. Drunk daddy Annabella. Dark world
|
|||
|
dwelling, brown-eyed Annabella. Turned on by the radioactive
|
|||
|
slab. Entranced by the magic in the night. She kneeled by the
|
|||
|
glow and studied it intently. Breaking free of her silent
|
|||
|
reverence, she giggled at the thought of a thing of such
|
|||
|
unearthly beauty somehow being abandoned in a garbage dump.
|
|||
|
Tenderly, she picked it up. And carefully, she stole back over
|
|||
|
the dunes.
|
|||
|
|
|||
|
|
|||
|
Rufus Won't Wake Up by Brian Tanaka
|
|||
|
======================================
|
|||
|
|
|||
|
The sight before the first officers on the scene was undoubtedly
|
|||
|
the most bizarre thing they had ever seen. A child's toy, a "Big
|
|||
|
Wheel" plastic tricycle, lay cradled in the front seat of a
|
|||
|
Mercedes Benz amongst the shards of remains of the shattered
|
|||
|
windshield it had burst through. The front wheel was lodged
|
|||
|
firmly in the vicinity of what should have been the jaw of the
|
|||
|
shattered skull of one Ned Dirkheim, sole occupant of the
|
|||
|
vehicle. As if this were not enough, a trail of blood,
|
|||
|
apparently left by the fleeing assailant, described a path from
|
|||
|
the site of impact, across the hood, through the parking lot,
|
|||
|
and out into the muggy night, signifying the impossible -- or at
|
|||
|
least the highly improbable: Someone had ridden that tricycle
|
|||
|
through the windshield, and walked away.
|
|||
|
|
|||
|
|
|||
|
"Where is he?"
|
|||
|
|
|||
|
"He's always late."
|
|||
|
|
|||
|
Ned Dirkheim, his face lined with deep furrows, looked at his
|
|||
|
watch for the fourth time in as many minutes. "Where is he?" he
|
|||
|
asked again.
|
|||
|
|
|||
|
Mark didn't feel he needed to answer. Instead he dropped his
|
|||
|
cigarette to the marble floor and crushed it with his foot.
|
|||
|
|
|||
|
"We ought to leave without him," Ned said, scowling. "That would
|
|||
|
teach him."
|
|||
|
|
|||
|
"Take it easy, Ned. He's always late. You know that."
|
|||
|
|
|||
|
Ned fidgeted with his car keys.
|
|||
|
|
|||
|
Mark continued, "Well, don't you? You should by now."
|
|||
|
|
|||
|
"Yeah, yeah."
|
|||
|
|
|||
|
"Well, if you don't want him in our carpool..."
|
|||
|
|
|||
|
"I know. Just tell him. I know. I just might do that."
|
|||
|
|
|||
|
"You've been saying that for the last..."
|
|||
|
|
|||
|
"I know! The last eight years." He regained a bit of composure
|
|||
|
and said, "I'm tired and I want to get home."
|
|||
|
|
|||
|
Mark just laughed. He was about to light another cigarette when
|
|||
|
he saw Douglas get out of an elevator on the far bank of the
|
|||
|
lobby.
|
|||
|
|
|||
|
"It's about time," Ned muttered to Mark. He turned and started
|
|||
|
toward the parking lot before Douglas could join them.
|
|||
|
|
|||
|
"What's up with him?" said Douglas, motioning toward the rapidly
|
|||
|
disappearing Ned.
|
|||
|
|
|||
|
Mark laughed and said, sarcastically, "Douglas, I'm surprised at
|
|||
|
you. Don't you know you shouldn't keep the Junior Vice President
|
|||
|
of Dayton Realty waiting?"
|
|||
|
|
|||
|
"Jesus. I forgot my briefcase, so I had to go all the way back
|
|||
|
up to..."
|
|||
|
|
|||
|
"Save it. Save it. I don't give a damn. Ned's just a little
|
|||
|
high-strung these days."
|
|||
|
|
|||
|
They caught up with Ned at his Mercedes Benz and he let them in
|
|||
|
without a word. They rolled out of the parking complex and Ned
|
|||
|
barreled out onto the Hollywood freeway. He pulled into the
|
|||
|
first lane and joined the thousands of other commuters bumper to
|
|||
|
bumper on their long, slow voyage to their suburban homes. The
|
|||
|
traffic crawled, threatening always to come to a complete halt,
|
|||
|
like a steel river on a concrete bed, flowing and snaking into
|
|||
|
the smoggy, brown horizon.
|
|||
|
|
|||
|
It was nearly an hour later when they crept off the Hollywood
|
|||
|
and onto the Ventura freeway. Ned took the Woodman street exit
|
|||
|
and dropped off Douglas in front of his home.
|
|||
|
|
|||
|
"Goodnight, Mark. Goodnight, Ned," Douglas said.
|
|||
|
|
|||
|
"Yeah, see ya' tomorrow, Doug," said Mark. They both glanced at
|
|||
|
Ned staring out of the windshield, but he said nothing.
|
|||
|
|
|||
|
The car roared off, back to the freeway, and out again into the
|
|||
|
Los Angeles twilight.
|
|||
|
|
|||
|
"If you don't mind me saying so, I think you should try to
|
|||
|
unwind a little," Mark said.
|
|||
|
|
|||
|
"Well, I do mind."
|
|||
|
|
|||
|
Mark decided it was not worth the effort to talk to Ned. He lit
|
|||
|
a cigarette and sat back to enjoy the ride.
|
|||
|
|
|||
|
A car passed them, swerved in front of them, cut into another
|
|||
|
lane and sped ahead.
|
|||
|
|
|||
|
"Damned kids!" Ned bellowed. He gripped the steering wheel
|
|||
|
tightly, and fear raced through him. "I swear to you, I'm never
|
|||
|
having kids as long as I live! They just grow up to be maniac
|
|||
|
teenagers."
|
|||
|
|
|||
|
"All right, Ned. All right. Calm down. Watch the road. Just get
|
|||
|
us home. Look, if the freeway is getting you so wound up, why
|
|||
|
don't we just get off at the next off ramp, instead of the one
|
|||
|
we usually use, and take surface streets to my house. We're
|
|||
|
nearly there anyway."
|
|||
|
|
|||
|
"What the hell." He turned down the off-ramp, and onto a wide
|
|||
|
boulevard.
|
|||
|
|
|||
|
"Slow down a little," Mark said.
|
|||
|
|
|||
|
"Just leave the driving to me," he said, violently snapping on
|
|||
|
the headlights and swerving onto a side street.
|
|||
|
|
|||
|
Suddenly a thump sounded in the car and a small white shape flew
|
|||
|
up in front of the windshield.
|
|||
|
|
|||
|
"What the fuck was that?" asked Mark.
|
|||
|
|
|||
|
Ned slammed on the brakes and the car came to a lurching halt.
|
|||
|
Both men looked back down the street. Ned felt dizzy as he
|
|||
|
recognized the lifeless shape in the street. It was a dog. A
|
|||
|
very dead dog.
|
|||
|
|
|||
|
"Let's get out of here," he rasped, his throat tight with
|
|||
|
revulsion.
|
|||
|
|
|||
|
"But, Ned, shit. That's someone's dog."
|
|||
|
|
|||
|
"I don't give a shit. It's not my fault some..."
|
|||
|
|
|||
|
"Look!"
|
|||
|
|
|||
|
A small boy had walked up to the dog. He pushed it a few times
|
|||
|
with his sneakered foot, and turned to face the car. Ned felt a
|
|||
|
strange bolt of energy race up his spine. For a moment, the
|
|||
|
child seemed larger than he should have been, his eyes more
|
|||
|
penetrating than they should have been. Ned felt a clammy panic
|
|||
|
embrace his heart -- the boy seemed to loom over the car,
|
|||
|
towering there in the suburban street. He felt the child's gaze
|
|||
|
burst through his very soul like a buzz saw through butter.
|
|||
|
|
|||
|
The sound of the passenger door opening brought him back to his
|
|||
|
senses.
|
|||
|
|
|||
|
"Get back in here, dammit, Mark!" he said.
|
|||
|
|
|||
|
Mark turned to him and said, "Are you kidding me? That dog
|
|||
|
belongs to that kid. We better talk to him. And you should
|
|||
|
probably make some sort of arrangement for compensation with his
|
|||
|
parents."
|
|||
|
|
|||
|
Ned was feeling more like himself now. He glanced into the rear-
|
|||
|
view mirror. Yes, the small child was merely a small child.
|
|||
|
Apparently, he had gone through a momentary delusion -- probably
|
|||
|
from the stress of the incident. That child, he thought, is too
|
|||
|
young to think of taking my license plate number; I could drive
|
|||
|
off and no one would know.
|
|||
|
|
|||
|
"Well, aren't you going to get out?" Mark said.
|
|||
|
|
|||
|
"No. No, I'm not going to," Ned said, "Let me take you home
|
|||
|
first -- it's only a few blocks away -- and then I'll come back.
|
|||
|
No use both of us being home late just because of some stupid
|
|||
|
dog." He put the car in gear and drove to Mark's house.
|
|||
|
|
|||
|
"Well, Ned. Good luck with the kid and his dog. I hope his
|
|||
|
parents don't give you too much hell."
|
|||
|
|
|||
|
Ned chuckled. "Oh, they won't."
|
|||
|
|
|||
|
"What makes you so sure?"
|
|||
|
|
|||
|
Ned just chuckled again.
|
|||
|
|
|||
|
"Look, Ned. This is the first time you've laughed all night.
|
|||
|
You're making me nervous. You are going back to the kid, aren't
|
|||
|
you?"
|
|||
|
|
|||
|
"Oh, Christ, Mark, why the hell should I? It's just some stupid
|
|||
|
dog. The kid'll get over it in no time. Next week he'll have
|
|||
|
some new toy and he won't even remember he had a dog." Mark
|
|||
|
didn't look convinced. "Just forget about it, Mark. You can bet
|
|||
|
I'm going to. Hell, I honestly couldn't even tell you exactly
|
|||
|
where it happened."
|
|||
|
|
|||
|
"Forget about it? How could I forget? That kid was standing
|
|||
|
there staring at us."
|
|||
|
|
|||
|
"Look. To tell you the truth, I don't really give a shit."
|
|||
|
|
|||
|
Mark had trouble hiding his contempt and said, "I don't think
|
|||
|
I'll need a ride in tomorrow. I'll take the bus." He slammed the
|
|||
|
door.
|
|||
|
|
|||
|
Ned drove back to the freeway. Of course, I did the right thing,
|
|||
|
he told himself. I'm a busy man. I don't have time for some
|
|||
|
brat's tragedy. God knows no one had time for mine when I was a
|
|||
|
boy.
|
|||
|
|
|||
|
Under the freeway overpass he paused for a red light. He noticed
|
|||
|
some graffiti scrawled across the concrete wall. Damned kids,
|
|||
|
writing on the walls, he thought. He read aloud: "Rufus won't
|
|||
|
wake up." Must be the name of some new rock group.
|
|||
|
|
|||
|
The light changed and he slid back onto the freeway. Soon he was
|
|||
|
near his home. He had almost put the incident with the dog out
|
|||
|
of his mind, and to completely eradicate it he decided to pull
|
|||
|
into his favorite neighborhood bar. He parked the car in the
|
|||
|
lot, got out, and locked his door. He noticed a tuft of fur
|
|||
|
caught in the chrome around the headlight and stopped to pull it
|
|||
|
out. There was more caught in the center of the grillwork, and
|
|||
|
he methodically pulled it all out. Amid the gore and fur was a
|
|||
|
dog tag. He read it and his initial fear rose up again in him.
|
|||
|
It said:
|
|||
|
|
|||
|
"Rufus"
|
|||
|
1314 Kilgore Lane
|
|||
|
555-6345
|
|||
|
|
|||
|
In his mind's eye he saw the graffiti under the freeway: Rufus
|
|||
|
won't wake up. It must be pure coincidence, he told himself. He
|
|||
|
looked down at the tag. His hand was trembling. He tossed the
|
|||
|
tag into a nearby hedge and headed into the bar. Stupid kid, he
|
|||
|
thought. Stupid dog.
|
|||
|
|
|||
|
"Hello, Mr. Dirkheim. Good to see ya'. Come on in and make
|
|||
|
yourself comfortable," Nick the bartender said upon spotting
|
|||
|
Ned.
|
|||
|
|
|||
|
"Hello, Nick."
|
|||
|
|
|||
|
"Say, you look a little shook up. Everything all right?"
|
|||
|
|
|||
|
"Gimme a bourbon, Nick. And make it snappy."
|
|||
|
|
|||
|
"Comin' right up." He poured a glass.
|
|||
|
|
|||
|
Ned promptly tossed it down. Jesus, he thought, I've got to pull
|
|||
|
myself together. He walked to the men's room and stepped inside.
|
|||
|
There in the brilliant florescent glare he saw, amongst the
|
|||
|
other graffiti, the last phrase in the world he wanted to see:
|
|||
|
Rufus won't wake up.
|
|||
|
|
|||
|
He stood stunned for a few moments, then rushed to the sink and
|
|||
|
soaked a paper towel in the lukewarm water. With determination
|
|||
|
he scrubbed at the scrawl on the wall. He noticed with horrified
|
|||
|
fascination that it was written in a child's hand. He scrubbed
|
|||
|
furiously but the words would not be removed.
|
|||
|
|
|||
|
Suddenly, the sound of barking from the bar grabbed his
|
|||
|
attention. He tossed the towel in the garbage and hurled himself
|
|||
|
through the door. A few people at the bar were laughing
|
|||
|
uproariously, and Nick was wiping down the far end of the bar,
|
|||
|
but no dog could be seen.
|
|||
|
|
|||
|
Ned strode up to Nick and said, "Is there a dog in here?"
|
|||
|
|
|||
|
"What?"
|
|||
|
|
|||
|
"A dog. Is there a dog in here?"
|
|||
|
|
|||
|
"You know I wouldn't let a dog in my bar, Mr. Dirkheim."
|
|||
|
|
|||
|
"Did you hear a dog just now?"
|
|||
|
|
|||
|
"No, sir."
|
|||
|
|
|||
|
Ned sat himself down on a stool. "Say, Nick, give me another."
|
|||
|
|
|||
|
Nick did, and then returned to wiping down the counter.
|
|||
|
|
|||
|
"Funny you should mention dogs, Mr. Dirkheim."
|
|||
|
|
|||
|
Ned lifted his glass to his mouth. "Why's that?"
|
|||
|
|
|||
|
"Well, there's all this dog hair on my bar. I can't get it off,
|
|||
|
it seems like..."
|
|||
|
|
|||
|
Ned spilled his drink, coughed and sputtered.
|
|||
|
|
|||
|
"It wasn't my fault!" he blurted out. "The damned thing ran
|
|||
|
right out into the street!"
|
|||
|
|
|||
|
"What the hell are you talking about? Keep it down!"
|
|||
|
|
|||
|
The knot of people at the other end of the bar laughed riotously
|
|||
|
again, but to Ned the laughter sounded like a pack of dogs
|
|||
|
barking. That this explained the barking he had heard in the
|
|||
|
men's room calmed him not at all. He jumped off his stool,
|
|||
|
tossed a wad of dollar bills on the bar, and dashed out the
|
|||
|
door.
|
|||
|
|
|||
|
Just outside he slipped and fell. He jumped back to his feet. To
|
|||
|
his great dismay, he saw that he had skidded on a pile of canine
|
|||
|
dung. He spun on his heels and headed in a dash for the car.
|
|||
|
Someone had carved into the paint on the hood with something
|
|||
|
sharp. It said: Rufus won't wake up.
|
|||
|
|
|||
|
Ned gasped. He fished his keys out of his pocket and fumbled
|
|||
|
with them, dropping them to the asphalt. He retrieved them and
|
|||
|
unlocked the door. Once seated, with the doors closed and
|
|||
|
locked, he picked up his car phone and dialed Mark.
|
|||
|
|
|||
|
"Hello."
|
|||
|
|
|||
|
"Hello, Mary Ann? Is Mark around?"
|
|||
|
|
|||
|
"Why, yes. He's here. Hold on a moment."
|
|||
|
|
|||
|
Ned held on. It seemed much longer than a moment. The seconds
|
|||
|
ticked by. They felt like minutes, hours, days. He began to
|
|||
|
wonder if they had been cut off. He pushed down the automatic
|
|||
|
door lock button again and glanced out the side window. He was
|
|||
|
horrified, but not entirely surprised, to see scrawled across
|
|||
|
the front wall of the bar in five foot letters: Rufus won't wake
|
|||
|
up.
|
|||
|
|
|||
|
He felt his bowels convulse involuntarily. Come on... Come on...
|
|||
|
he thought, pick up the goddamned phone. He knew he had to get
|
|||
|
back to the scene of the incident to straighten out the mess he
|
|||
|
had begun, but what he had told Mark was horribly true -- he
|
|||
|
couldn't remember exactly where it had happened. All those dark
|
|||
|
side streets looked much the same. It could have been any one of
|
|||
|
them. But, Mark could tell him exactly where it had happened.
|
|||
|
|
|||
|
A faint rustling sound on the receiver blossomed suddenly into a
|
|||
|
burst of static, followed by a low whine, an oozing howl
|
|||
|
slithering down the phone line and into Ned's ear.
|
|||
|
|
|||
|
"Hi," said a voice on the phone.
|
|||
|
|
|||
|
"Hello, Mark?" said Ned, although he knew it wasn't Mark. It was
|
|||
|
the voice of the child.
|
|||
|
|
|||
|
"Mister... Rufus won't wake up."
|
|||
|
|
|||
|
Ned's world spun. It's impossible, he told himself. Yet the
|
|||
|
voice continued.
|
|||
|
|
|||
|
"Did you hear me, mister? Rufus won't wake up."
|
|||
|
|
|||
|
"I hear you," he said. "Listen, kid. I -- I -- I'm sorry I hit
|
|||
|
your dog."
|
|||
|
|
|||
|
"No you're not!" The child's voice rose with emotion. It was
|
|||
|
plain to hear he was crying, and angry.
|
|||
|
|
|||
|
"I am. I'm really sorry, kid." He realized suddenly that he
|
|||
|
really was sorry. And almost against his will he shot back
|
|||
|
through the murky years of memory to his own childhood and all
|
|||
|
the pleas unheard, all the tears unseen. He once again felt his
|
|||
|
young, needy arms embrace his father who felt stiff and
|
|||
|
unyielding under the hug. His father who was a cold stone
|
|||
|
monolith. His father who could never return an embrace.
|
|||
|
|
|||
|
"No you're not!" the child repeated.
|
|||
|
|
|||
|
"Yes. Yes I am. I truly am." He felt somehow offended the child
|
|||
|
would not believe him just as he had come to this revelation
|
|||
|
that startled even himself.
|
|||
|
|
|||
|
"You're not sorry! You're not, you're not, you're not!"
|
|||
|
|
|||
|
"Please believe me."
|
|||
|
|
|||
|
"Rufus won't wake up, and neither will you." the child said.
|
|||
|
|
|||
|
And Ned Dirkheim drew his last breath in a rasping, rushing
|
|||
|
gasp. And Ned Dirkheim watched a speck in the sky turn to a
|
|||
|
distinguishable shape with impossible speed. And Ned Dirkheim
|
|||
|
recognized the shape as a Big Wheel. And Ned Dirkheim felt the
|
|||
|
convulsion of his car as the windshield burst. And Ned Dirkheim
|
|||
|
tasted plastic and came apart at the seams.
|
|||
|
|
|||
|
|
|||
|
Brian Tanaka (btanaka@well.sf.ca.us)
|
|||
|
---------------------------------------
|
|||
|
|
|||
|
Brian Tanaka lives and frolics in San Francisco. He continues to
|
|||
|
enjoy writing despite having just graduated from San Francisco
|
|||
|
State University with a B.A. in Creative Writing.
|
|||
|
|
|||
|
|
|||
|
The Unified Murder Theorem (Conclusion) by Jeff Zias
|
|||
|
======================================================
|
|||
|
|
|||
|
SYNOPSIS
|
|||
|
----------
|
|||
|
|
|||
|
They killed the guitar player on a Thursday night, as he sat in
|
|||
|
the bar, playing his blue-glowing guitar. The last words the hit
|
|||
|
men said were simply: "Goodbye from Nattasi."
|
|||
|
|
|||
|
Jack Cruger, an accordion instructor, leads a mundane life --
|
|||
|
<20>except when trying to make a baby with his beautiful wife
|
|||
|
Corrina. But all of that changes the moment that Tony Steffen
|
|||
|
walks in his door. Tony gives Cruger an accordion to play -- and
|
|||
|
blue light appears inside it when he plays. In addition, he
|
|||
|
plays better than he's ever played before.
|
|||
|
|
|||
|
Tony informs Cruger that the blue strands of light coming out of
|
|||
|
the accordion are strings, each representing a path, a possible
|
|||
|
outcome. Cruger has been chosen to be a "spinner" of strings by
|
|||
|
the "Company," -- an organization whose job it is to create and
|
|||
|
support all worlds, galaxies, and universes. The company's
|
|||
|
chairman prefers to have living beings "spin" the fates... but
|
|||
|
there's a catch -- there's another company, one that does what
|
|||
|
you expect the Devil to do. If Cruger spins for the "good guys,"
|
|||
|
he'll be given protection in return --<2D>other spinners will
|
|||
|
ensure that neither he nor his family will be harmed... except
|
|||
|
for what is beyond their control, such as intervention from the
|
|||
|
Other Company.
|
|||
|
|
|||
|
Tony, occasionally accompanied by a beautiful young woman named
|
|||
|
Sky, sometimes visits with Cruger. Tony tells him that many of
|
|||
|
the company's executive positions are still held by aliens, most
|
|||
|
from the planet named Tvonen. The Tvonens are now very advanced
|
|||
|
--<2D>but their technology is completely analog-based, with no
|
|||
|
digital electronics at all. Earth is quickly becoming more
|
|||
|
technologically adept than the Tvonens. The Tvonens believe that
|
|||
|
human thought, with its pursuit of the Grand Unified Theorem
|
|||
|
--<2D>a theorem that could describe every detail of the functioning
|
|||
|
of the universe --<2D>would give the Company a giant edge in its
|
|||
|
ability to guide the universe.
|
|||
|
|
|||
|
Tony is in charge of implementing the theory into a computer
|
|||
|
system that will allow the Company to have such control over the
|
|||
|
universe. Obviously, such a prospect is not taken lightly by the
|
|||
|
Other Company, operated by renegade Tvonens and shape-shifting
|
|||
|
aliens known as Chysans.
|
|||
|
|
|||
|
But then Cruger finds Tony dead on his doorstep, and Cruger's
|
|||
|
neighbor Leon Harris, watching from next door, comes over and
|
|||
|
takes Cruger inside to call the police. In a panic, Cruger runs
|
|||
|
outside, only to find Tony's body gone. When Harris tries to
|
|||
|
grab him, he gets a powerful taste of Cruger's otherworldly
|
|||
|
insurance policy. Cruger, now without Tony, decides to let
|
|||
|
Harris in on what the Company is.
|
|||
|
|
|||
|
In the wake of Tony's death, the two go in search of Tony's
|
|||
|
girlfriend Sky. They succeed in tracking her down, but she says
|
|||
|
she's never heard of anyone named Tony. The school has no
|
|||
|
records of Tony's existence. It's as if he's been erased from
|
|||
|
existence.
|
|||
|
|
|||
|
After being attacked by a group of thugs from the Other Company
|
|||
|
-- and being saved by the insurance policy -- Cruger and Harris
|
|||
|
try to figure out Tony's notes and how he could have been using
|
|||
|
his computer to control the entire universe.
|
|||
|
|
|||
|
From above, in a ship orbiting the Earth, God -- the company's
|
|||
|
Chairman -- looked down down on Harris and Cruger and saw
|
|||
|
possible sucessors. He had been Chairman for two thousand years,
|
|||
|
but it would be time to go soon. Since the use of Earth's
|
|||
|
technology would be what gave the Company power over the
|
|||
|
universe, it seemed fitting that a human should be the next
|
|||
|
chairman. These two men, the Chairman realized, were the
|
|||
|
Company's best hope, if the Other Company didn't get to them
|
|||
|
first.
|
|||
|
|
|||
|
Cruger and Harris are introduced to Neswick, an IRS agent who
|
|||
|
doubles as their new Company supervisor. His daughter, Tamara,
|
|||
|
quickly becomes intimately involved with Harris.
|
|||
|
|
|||
|
One night, while playing, Cruger is paid a visit by someone who
|
|||
|
seems to be a future version of himself: except this one says he
|
|||
|
and Harris have become God. The future Cruger also plays a
|
|||
|
guitar and is conspicuously missing a wedding ring. After
|
|||
|
exchanging arguments, the future Cruger disappears.
|
|||
|
|
|||
|
In a fit of suspicion about Neswick, Cruger follows Neswick to
|
|||
|
the airport, where he sees him rendezvous with his daughter,
|
|||
|
Tamara. Nothing strange there. But then, almost under his nose,
|
|||
|
Cruger recognizes a face: Sky! She kisses Neswick and then
|
|||
|
Tamara, laughing and talking.
|
|||
|
|
|||
|
Cruger feels his stomach sink at least a yard. He knows innocent
|
|||
|
coincidences like this are harder to find than dodo birds. Much
|
|||
|
harder.
|
|||
|
|
|||
|
|
|||
|
Chapter 29
|
|||
|
------------
|
|||
|
|
|||
|
The unconscious is not just evil by nature, it is also the
|
|||
|
source of the highest good: not only the dark but also the
|
|||
|
light, not only bestial, semihuman, and demonic, but superhuman,
|
|||
|
spiritual, and, in the classic sense of the word, "divine."
|
|||
|
--Carl Gustave Jung
|
|||
|
|
|||
|
"Leon, I have a strange question for you. If you tell me to eat
|
|||
|
dirt, I'll understand."
|
|||
|
|
|||
|
"Wow, I can't wait to hear it: ask away."
|
|||
|
|
|||
|
"Will you let Corinna hypnotize you? I have a theory I want to
|
|||
|
follow up on."
|
|||
|
|
|||
|
Harris was surprised. "Does your wife know how to hypnotize
|
|||
|
people?"
|
|||
|
|
|||
|
"Sure. She was a therapist before we were married. They taught
|
|||
|
her in school: it's a standard technique." Cruger grinned. "No
|
|||
|
sweat."
|
|||
|
|
|||
|
"Has she done it since then?"
|
|||
|
|
|||
|
"Well, she hypnotized me once before we were married, but it's
|
|||
|
like riding a bike, you know? If you've done it you don't
|
|||
|
forget."
|
|||
|
|
|||
|
"And how do I know my brain won't be scrambled? And there might
|
|||
|
be things I wouldn't want to tell your wife." Harris grinned.
|
|||
|
"Might make her think twice about being with a guy like you."
|
|||
|
|
|||
|
"Um," Cruger said, "I'll take my chances."
|
|||
|
|
|||
|
"Uh huh." Harris paused a moment. "Ok, what the hell."
|
|||
|
|
|||
|
The two of them walked the fifty feet to Cruger's house. Corinna
|
|||
|
was home; they found her in the kitchen sorting through the
|
|||
|
mail.
|
|||
|
|
|||
|
"Hi, honey," Cruger said, and kissed her on the cheek. "You
|
|||
|
remember Leon Harris? Lives next door?"
|
|||
|
|
|||
|
"Sure," Corinna smiled and extended her hand. "Good to see you
|
|||
|
again, Mr. Harris."
|
|||
|
|
|||
|
"I've got a favor to ask, Corinna. Could you hypnotize Mr.
|
|||
|
Harris?"
|
|||
|
|
|||
|
Corinna stopped, junk mail in one hand and bills in the other.
|
|||
|
"Could I what?"
|
|||
|
|
|||
|
"You know, take him under so I can ask him a few questions."
|
|||
|
|
|||
|
"You've got to be kidding." She looked at Harris. "He's kidding,
|
|||
|
right?"
|
|||
|
|
|||
|
Harris fidgetted. "Uh, I thought you said this wouldn't be a
|
|||
|
problem, Jack."
|
|||
|
|
|||
|
"It's not." Cruger set his hand on Corinna's arm. "It's nothing
|
|||
|
serious, honey. It's just that, um, he's curious. He's never
|
|||
|
been hypnotized before and wants to see what it's like."
|
|||
|
|
|||
|
"That's not a good reason." Corinna said in a firm voice.
|
|||
|
|
|||
|
"Well, that's not the whole reason, really..." Cruger went on.
|
|||
|
His thoughts were racing. Should he tell her about the Company?
|
|||
|
About what he and Harris were doing? He wished he'd thought this
|
|||
|
through a little further.
|
|||
|
|
|||
|
"So what's the real reason for this?" Corrina was looking hard
|
|||
|
into his eyes.
|
|||
|
|
|||
|
"Um," Cruger started. "You see, uh, we..."
|
|||
|
|
|||
|
"We have a bet." Harris said sheepishly. Corinna and Cruger both
|
|||
|
turned toward him.
|
|||
|
|
|||
|
"A bet?"
|
|||
|
|
|||
|
"Well, not exactly," said Cruger.
|
|||
|
|
|||
|
"He doesn't believe that I was at the airport last night."
|
|||
|
|
|||
|
Corinna's eyes narrowed. "I don't get it."
|
|||
|
|
|||
|
Cruger jumped in. "See, I don't think he was at the airport
|
|||
|
because he was on a hot date with Tamara, and he says there's
|
|||
|
nothing going on between them." Cruger crossed his arms and
|
|||
|
smiled. "I've got fifty dollars on this."
|
|||
|
|
|||
|
"This is crazy, Jack." Corinna dropped the junk mail into the
|
|||
|
trash. "No."
|
|||
|
|
|||
|
Cruger took her hand. "Please, just once? I'll never bug you
|
|||
|
about it again." He looked into her eyes and tried to seem as
|
|||
|
sincere as possible. He knew sincerity counted at times like
|
|||
|
this.
|
|||
|
|
|||
|
Corinna appeared to reconsider. She turned back to Harris.
|
|||
|
"You're really willing to do this?"
|
|||
|
|
|||
|
Harris shifted and put his hands in his pockets. "Um, sure.
|
|||
|
Yeah."
|
|||
|
|
|||
|
"Alright." Corinna's mouth formed a straight line. "But just
|
|||
|
this once. And you'll use that money to take me to dinner. When
|
|||
|
did you plan on doing this?"
|
|||
|
|
|||
|
"Well, how about now?" said Cruger.
|
|||
|
|
|||
|
"Now? I've got to work in three hours!"
|
|||
|
|
|||
|
"How long will this take?"
|
|||
|
|
|||
|
"Long enough!"
|
|||
|
|
|||
|
"We don't have much time... we really need to get this settled.
|
|||
|
Please?"
|
|||
|
|
|||
|
There was a moment when Cruger almost thought she was going to
|
|||
|
say no, but then she nodded and led them into the living room.
|
|||
|
She made Harris sit down and, with a glare at Cruger, she began.
|
|||
|
|
|||
|
First, she systematically relaxed each part of his body, then
|
|||
|
told him a repetitive story about a man traveling downward, and
|
|||
|
further downward, on a fast, smooth, elevator. When Harris was
|
|||
|
definitely under, she nodded to Cruger.
|
|||
|
|
|||
|
"Leon, it's last night and you're at home. Can you remember
|
|||
|
that?"
|
|||
|
|
|||
|
"Yes." Harris' voice was entirely relaxed.
|
|||
|
|
|||
|
"What did you do?"
|
|||
|
|
|||
|
"Tamara came over. We talked and had some wine."
|
|||
|
|
|||
|
Cruger's raised his eyebrows; Corina pursed her lips. "Anything
|
|||
|
else you can remember?" Cruger asked.
|
|||
|
|
|||
|
"We had sex, then we went to sleep. We were tired."
|
|||
|
|
|||
|
Cruger smiled widely for Corinna's benefit, then thought for a
|
|||
|
minute."When you went to sleep, do you remember anything in
|
|||
|
particular, any dreams?" Corinna glared at him, but he ignored
|
|||
|
her.
|
|||
|
|
|||
|
Harris was silent. His face was slightly tensed compared to a
|
|||
|
moment before. Finally, he began forming words.
|
|||
|
|
|||
|
"I do remember a little. I was dreaming, I think. Yes, I was
|
|||
|
with Tamara." Harris's talking was very soft, barely audible.
|
|||
|
Cruger moved closer to hear better.
|
|||
|
|
|||
|
"She stood me up, and held my hands," Harris said. "We were both
|
|||
|
naked. Her eyes were closed and she seemed to be meditating,
|
|||
|
thinking very hard. My body became light and for a minute I
|
|||
|
couldn't see at all because of a bright light shining all around
|
|||
|
us. But, I could still feel Tamara's hands, warm, almost too hot
|
|||
|
to touch, in my hands."
|
|||
|
|
|||
|
Cruger paused for a moment, trying to anticipate Corinna's
|
|||
|
objections to the direction of his questions, but her objections
|
|||
|
never came. He glanced at her; she sat silently, leaning forward
|
|||
|
in her chair. "Um, go on," Cruger said, trying to make his voice
|
|||
|
sound calm and assured.
|
|||
|
|
|||
|
"I must have just slept more for a while and then, all of a
|
|||
|
sudden, I was awake, and everything was extremely cold. I slowly
|
|||
|
opened my eyes, just a little at a time because hot, sticky air
|
|||
|
was sort of stinging. When I opened them up I was in a strange
|
|||
|
place, really strange.
|
|||
|
|
|||
|
"The air was misty with pockets of steam, and the ground was
|
|||
|
this dark green and purple color. Bright and shiny. The land was
|
|||
|
flat but all I saw around me were really smooth shiny black
|
|||
|
rocks, the ground, and these big balloon-looking things all over
|
|||
|
the place which were kind of like trees.
|
|||
|
|
|||
|
"I heard a noise and then looked around behind me. There was
|
|||
|
this little purplish thing, a creature. It had lots of arms and
|
|||
|
legs and the face was ugly -- looked like a monkey with a frog's
|
|||
|
skin. This thing took my arm and led me toward this big smooth
|
|||
|
rock. There was a hole in the ground next to it, and this thing
|
|||
|
led me down the hole; it was like an entrance to a cave but very
|
|||
|
steep.
|
|||
|
|
|||
|
"We went down these corridors and then came to a room with
|
|||
|
torches lighting it. The room was filled with these creatures,
|
|||
|
they just appeared out of nowhere with all of their arms and
|
|||
|
ugly skin. A few of them blended into the walls behind them like
|
|||
|
chameleons."
|
|||
|
|
|||
|
Harris seemed to lose his train of thought as he paused for a
|
|||
|
moment, swallowing hard and licking his lips.
|
|||
|
|
|||
|
Corinna was still silent, so Cruger pressed on. "What happened
|
|||
|
next?"
|
|||
|
|
|||
|
"Then they all started making noise. They all seemed to be
|
|||
|
talking at once. They started forming this circle, joining all
|
|||
|
of their hands together and making this noise, this humming sort
|
|||
|
of noise. One of them pushed me into the center of the circle,
|
|||
|
then I swear I heard one of them laugh -- I mean a real human
|
|||
|
laughing sound.
|
|||
|
|
|||
|
"They closed in really tight all around me. They stuck out hands
|
|||
|
and touched me, but, all of a sudden, I wasn't scared. Their
|
|||
|
hands were warm and smooth; I relaxed and stood there with their
|
|||
|
hands holding me up. Then it was very strange. I felt myself
|
|||
|
talking to myself, in a way. It was as if they were asking me
|
|||
|
hundreds of questions rapid fire and my brain was answering
|
|||
|
them. Every thought I had seemed to elicit some kind of feedback
|
|||
|
that I felt in their hands. I don't know how much time passed. I
|
|||
|
remember feeling tired then. Next thing I knew, I was in my bed
|
|||
|
at home just waking up."
|
|||
|
|
|||
|
"Did you feel like you just dreamed this?" Cruger asked.
|
|||
|
|
|||
|
"No. It seemed real. I told Tamara. She thought it was pretty
|
|||
|
funny. She said I've been reading too much science fiction
|
|||
|
lately."
|
|||
|
|
|||
|
Cruger paused, then looked toward Corinna. "I think we're done."
|
|||
|
|
|||
|
Corinna took a moment to respond, then she slowly began to bring
|
|||
|
Harris out of the trance. Cruger stood up and made for the
|
|||
|
bathroom, closing the door behind him. Then he sat down and
|
|||
|
slowly began to rub his temples. From the living room, he could
|
|||
|
hear Corinna's gentle voice--just a soothing sound, no words.
|
|||
|
|
|||
|
As Harris' story sunk in, Cruger's stomach muscles tightened to
|
|||
|
a knot. He could almost smell his own sweat, as the perspiration
|
|||
|
crept down his shirt sleeves. The pieces of the puzzle were
|
|||
|
starting to fit together, and he didn't like the image that was
|
|||
|
forming. It looked like a big lemon. Now, how to make lemonade?
|
|||
|
|
|||
|
|
|||
|
Chapter 30
|
|||
|
------------
|
|||
|
|
|||
|
The next evening Cruger went over to see Harris at Tony's
|
|||
|
office, carrying a beaten-up guitar behind him and feeling a bit
|
|||
|
guilty about abandoning his accordion.
|
|||
|
|
|||
|
Had Harris figured out the whole picture, part of the picture,
|
|||
|
none of the picture, or just about everything? Hopefully he had
|
|||
|
figured out enough, because it was beginning to look like they
|
|||
|
were in a race against time.
|
|||
|
|
|||
|
"Do you know how this spinning works? Have you found anything
|
|||
|
like the code for that in the programs?" Cruger asked.
|
|||
|
|
|||
|
"I think I know how it's set up. I've made a basic assumption
|
|||
|
concerning the transference of energy -- given the models for
|
|||
|
spinning that I know about."
|
|||
|
|
|||
|
"Well, good. Actually, I have a reason for asking. You promise
|
|||
|
not to laugh at me when I ask you a question?"
|
|||
|
|
|||
|
"All right," Harris said, "I can't wait to hear this one. I
|
|||
|
promise to not split a gut or anything, but can I just smirk a
|
|||
|
little bit?"
|
|||
|
|
|||
|
"OK; smirk away. Here it is: I've been thinking of playing --
|
|||
|
and spinning -- with a guitar. Do you think you can fix it so
|
|||
|
that my spinning works with the guitar?"
|
|||
|
|
|||
|
To Cruger's surprise Harris answered seriously, although it did
|
|||
|
look like he was smirking. "I was wondering why you had that
|
|||
|
thing with you. Look, I think I know how to set it up. It would
|
|||
|
be a pretty good test to see if my theory about spinning is
|
|||
|
right."
|
|||
|
|
|||
|
"Now wipe that smirk off your face; you've enjoyed this enough
|
|||
|
already," Cruger said.
|
|||
|
|
|||
|
"Why do you want to have a guitar to spin with anyway?" Harris
|
|||
|
asked as if he wanted the information for his files. Probably
|
|||
|
very orderly files.
|
|||
|
|
|||
|
"All of this is so ironic, don't you think? Once I saw a cartoon
|
|||
|
that showed a man on his way through the pearly gates being
|
|||
|
handed a harp. The caption read: 'Welcome to heaven.' In the
|
|||
|
frame below, a man was being handed an accordion and the caption
|
|||
|
read: 'Welcome to hell.' I want to make sure my name shows up on
|
|||
|
the correct employee roster."
|
|||
|
|
|||
|
"Good point," Harris said. "the accordion is pretty hellacious.
|
|||
|
I'll chalk this up as a piece of pro bono work -- change for the
|
|||
|
good."
|
|||
|
|
|||
|
Harris sat at the computer, entering new descriptive identifiers
|
|||
|
for Cruger's guitar. After about fifteen minutes had gone by,
|
|||
|
Harris asked him to try playing the guitar a little to see if it
|
|||
|
worked yet. Cruger struck a few chords on the instrument, and
|
|||
|
played a quick melodic minor scale, up and down. No blue light
|
|||
|
-- nothing in the tone of the instrument was extraordinary in
|
|||
|
the least. The cheap thirty-dollar guitar sounded like a cheap
|
|||
|
thirty-dollar guitar.
|
|||
|
|
|||
|
"Wait, I think I know what's wrong." Harris shook his head and
|
|||
|
kept on working.
|
|||
|
|
|||
|
Cruger held the guitar across his knee and struck a simple
|
|||
|
chord. Something was different; the sound was deeper, fuller. He
|
|||
|
continued to play and the instrument gained momentum, starting
|
|||
|
to resonate fully on every note. The higher harmonics
|
|||
|
intensified, ringing out richly across the room. Then, bending
|
|||
|
over the instrument as he played, Cruger saw a pale blue light
|
|||
|
shining from within the body of the small guitar.
|
|||
|
|
|||
|
|
|||
|
Chapter 31
|
|||
|
------------
|
|||
|
|
|||
|
Getting the jump on them was easy. Cruger grabbed the phone,
|
|||
|
called Ms. Branner at the IRS, and said he was from the travel
|
|||
|
agency. Just confirming the flight to Denver, that's right miss,
|
|||
|
Mr. Neswick's next flight is... what did you say? The
|
|||
|
twenty-third, 1 p.m., that's correct. And rental car is... Avis,
|
|||
|
did you say? Right again.
|
|||
|
|
|||
|
So Cruger got to Denver on an earlier flight.
|
|||
|
|
|||
|
But the stakeout wasn't much fun. A stakeout is especially
|
|||
|
tiresome for a guy who doesn't know what he's doing.
|
|||
|
|
|||
|
Cruger sat in his rental car waiting for Neswick to pull out of
|
|||
|
the airport. There was only one exit from the Avis lot; he hoped
|
|||
|
he would recognize Neswick when he drove past. Cruger's stomach
|
|||
|
started to rumble every couple of minutes; it sounded loud
|
|||
|
enough Cruger worried a cop would come knock on his window,
|
|||
|
telling him to turn down his subwoofers. Ain't no subwoofers, he
|
|||
|
would have to say, it's my goddamn stomach: You have a candy bar
|
|||
|
or something? and the cop would go away with that puzzled-cop
|
|||
|
look on his serious face.
|
|||
|
|
|||
|
Finally, twenty minutes after Neswick's plane was supposed to
|
|||
|
have landed, Cruger saw him pulling out in a Ford Taurus. Must
|
|||
|
not have had luggage, Cruger thought as he turned the key in the
|
|||
|
ignition.
|
|||
|
|
|||
|
Cruger kept a safe distance; but he could see two passengers
|
|||
|
that looked to be Sky and Tamara. Neswick went south on 25 and
|
|||
|
stayed on all the way to Colorado Springs, then went through
|
|||
|
town and back into the foothills.
|
|||
|
|
|||
|
They stopped at a large house on quiet street that gave at least
|
|||
|
an acre to each home. The lots were lined by random assortments
|
|||
|
of gigantic boulders and jagged granite.
|
|||
|
|
|||
|
Cruger pulled up to the house down the street. He was close
|
|||
|
enough to see Neswick, Tamara, and Sky as they walked up to the
|
|||
|
door and knocked. It opened a crack, and the three filed inside.
|
|||
|
Cruger thought he saw a glint of silver from the clothing
|
|||
|
inside, but the door closed before he could be sure.
|
|||
|
|
|||
|
Cruger drove up to the house, got a closer look. The name
|
|||
|
NATASSI, in small white letters, was painted on the cedar box
|
|||
|
resting on the cracked 4x4 post alongside the steep driveway.
|
|||
|
|
|||
|
Cruger drove down the hill and got himself the closest Best
|
|||
|
Western hotel room. There was only one Natassi in the phone
|
|||
|
book. Theodore Natassi. He was on 266 Garden Rock road, right
|
|||
|
where Cruger had followed Neswick and crew. He imagined a
|
|||
|
trained detective would know what to do as he showered and lay
|
|||
|
on the bed, drifting into an unplanned nap.
|
|||
|
|
|||
|
|
|||
|
Neswick and Tamara were talking in the other room -- Natassi
|
|||
|
could hear Neswick with his annoying, dull voice telling her
|
|||
|
about the mountains and the American Indians and the Rockies
|
|||
|
wildlife as if he were lecturing a college class.
|
|||
|
|
|||
|
Natassi turned towards Sky. She was sitting the parquet kitchen
|
|||
|
table, eating dozens of cookies, seemingly oblivious to the
|
|||
|
ponderous bulk he turned towards her.
|
|||
|
|
|||
|
"Tell me about the school you attend," he asked Sky. He watched
|
|||
|
for her reaction, more important to him than anything she would
|
|||
|
say. Her expression did not change. He wanted to probe, but
|
|||
|
would start soft. Maybe in conversation she'd slip -- a grimace,
|
|||
|
a frown -- and tell him something, maybe something he really
|
|||
|
wanted to know.
|
|||
|
|
|||
|
"Not much to tell," she said without looking up, and then, "You
|
|||
|
know, I can eat a million of these things, these cookies, and
|
|||
|
not get fat. All the girls at school are starving themselves to
|
|||
|
try to get thin, and I eat all day long. Cracks me up." Sky, the
|
|||
|
wicked mistress of pure innocence. Natassi both hated and
|
|||
|
admired her ability to play the innocent foxy-cute teenager.
|
|||
|
They should give awards, he thought, for such great acting. She
|
|||
|
was the best. An Oscar to the alien girl who plays the airhead
|
|||
|
but is really Satan's handmaid.
|
|||
|
|
|||
|
"You've heard about someone breaking the rules? The deletions?"
|
|||
|
Natassi watched her face closely. "I want to find out who it
|
|||
|
is," Natassi said, making his voice stern. "You wouldn't have
|
|||
|
any ideas, would you? Operatives behaving abnormally? Getting
|
|||
|
too... involved here on Earth?"
|
|||
|
|
|||
|
She met his eyes for a moment but didn't say anything, her blue
|
|||
|
eyes tranquil and seeming to say, "I wish I could help but,
|
|||
|
alas, I can't." She sat still, wrapped in shorts that barely
|
|||
|
reached her thighs and a tiny halter top.
|
|||
|
|
|||
|
Natassi let the silence hang in the room. Why would she do it?
|
|||
|
Why would Tamara, or any other operative? Maybe a grudge, maybe
|
|||
|
personality clashes, maybe some of these humans rub you so far
|
|||
|
the wrong way you just have to take them out. Like Neswick --
|
|||
|
like all the Chysans -- rubbed him, only much worse.
|
|||
|
|
|||
|
|
|||
|
Chapter 32
|
|||
|
------------
|
|||
|
|
|||
|
Cruger didn't get much further the next day -- no one entered or
|
|||
|
left the Natassi home. Then Cruger had to catch his flight back,
|
|||
|
wondering what he accomplished on his trip.
|
|||
|
|
|||
|
He had told Corrina he was going to the Polka festival in
|
|||
|
Pueblo. He talked about hearing the Detroit Polish Moslem
|
|||
|
Accordion Warriors play Love Potion Number Nine and other big
|
|||
|
hits. He said he sat in with Nose Harp players from New Orleans.
|
|||
|
She didn't seem to care much, and the next morning was
|
|||
|
affectionate and athletic in bed, especially for a pregnant
|
|||
|
woman.
|
|||
|
|
|||
|
|
|||
|
Neswick gestured for Harris and Cruger to sit. It was three days
|
|||
|
after the mystery weekend and Neswick had called them into an
|
|||
|
early evening meeting.
|
|||
|
|
|||
|
"The Company has a large and complex organization, but I'll tell
|
|||
|
you what you need to know. As you probably already know, a good
|
|||
|
percentage of the Company is composed of people from Earth.
|
|||
|
|
|||
|
"Many of the executive positions are still held by managers from
|
|||
|
elsewhere. The vast majority of these -- well, I'll call them
|
|||
|
foreigners, sounds better than 'aliens' -- most of them are from
|
|||
|
the same planet: Tvonen. You won't find this planet on any of
|
|||
|
your astronomy charts; I assure you. The Chairman himself is a
|
|||
|
Tvonen."
|
|||
|
|
|||
|
Cruger raised his eyebrows and exchanged a quick glance with
|
|||
|
Harris.
|
|||
|
|
|||
|
"These Tvonen went through a process of evolution quite similar
|
|||
|
to what the humans have endured. However, a few major
|
|||
|
differences exist, and I'd like to call attention to these
|
|||
|
differences."
|
|||
|
|
|||
|
Cruger noticed that Neswick always sounded as if he were
|
|||
|
addressing the graduating class at Harvard. The man's stiff,
|
|||
|
arrogant style bothered him.
|
|||
|
|
|||
|
"First of all, the Tvonens have creationist mythology like ours.
|
|||
|
The only irony is, their mythology is not allegorical but
|
|||
|
factual."
|
|||
|
|
|||
|
"We're familiar with the origin of the Tvonens. Tony filled me
|
|||
|
in," Cruger said.
|
|||
|
|
|||
|
"So you know about a Tvonen undergoing 'the change'?"
|
|||
|
|
|||
|
Both Cruger and Harris nodded.
|
|||
|
|
|||
|
"That special enzyme in their bloodstream controls the secretion
|
|||
|
of the hormone for sexuality. Isn't that cruel?"
|
|||
|
|
|||
|
"What is their civilization like now?" asked Harris.
|
|||
|
|
|||
|
"Now they are what we would call a very advanced society. They
|
|||
|
have technology that you would consider staggering. But, keep in
|
|||
|
mind, they are much different from humans. For example, they
|
|||
|
never devised any digital electronics. Their entire technology
|
|||
|
is based on analog computing and mineral crystals. They also
|
|||
|
have terrific projective holograms that can transmit with
|
|||
|
pinpoint accuracy. For clothing, they wear trained
|
|||
|
microorganisms that are self-cleaning and form-fitting.
|
|||
|
|
|||
|
"They may be more advanced than humans, but humans are about to
|
|||
|
pass them up. Digital electronics are more precise, more capable
|
|||
|
of the infinite. See," said Neswick, "the problem you men have
|
|||
|
is that you have no concept of the infinite. Once you master
|
|||
|
that concept, everything else is simple to understand.
|
|||
|
|
|||
|
"To picture the infinite, look at it this way: think of
|
|||
|
everything there is -- I mean everything. Okay. Now realize that
|
|||
|
there is actually a little bit more. You see?"
|
|||
|
|
|||
|
Harris wondered if this was like when he tried cleaning things
|
|||
|
dirt and dust from behind the back of the refrigerator.
|
|||
|
|
|||
|
Cruger scratched his shoulder and felt like a not-particularly-
|
|||
|
bright Orangutan.
|
|||
|
|
|||
|
"Always, no matter what, there is a little more. Never can there
|
|||
|
be everything."
|
|||
|
|
|||
|
Cruger thought he understood but sarcastically played with the
|
|||
|
idea that he may not have understood everything that Neswick
|
|||
|
meant.
|
|||
|
|
|||
|
|
|||
|
Neswick had a different meeting later that day. Now that he had
|
|||
|
them all in the same room, he could get the message across
|
|||
|
quickly and simply.
|
|||
|
|
|||
|
"It has come to my attention that someone is breaking
|
|||
|
regulations by performing unnecessary deletes."
|
|||
|
|
|||
|
He scanned the room quickly but, as expected, they all had
|
|||
|
blocks up.
|
|||
|
|
|||
|
"The importance of this mission cannot be overemphasized. Every
|
|||
|
extra delete greatly jeopardizes the work we are doing. Is that
|
|||
|
clear?"
|
|||
|
|
|||
|
Of course, they all had entirely unreadable, impassive looks on
|
|||
|
their faces. He excused them and they left, single file, no one
|
|||
|
talking.
|
|||
|
|
|||
|
He wondered if his management would see this as weakness on his
|
|||
|
part. How could he let this behavior go unpunished? But, how
|
|||
|
could he punish before he was sure of the identity of the
|
|||
|
perpetrator?
|
|||
|
|
|||
|
But playing with the Big Enigma was dangerous. It could only go
|
|||
|
on for so long.
|
|||
|
|
|||
|
|
|||
|
Chapter 33
|
|||
|
------------
|
|||
|
|
|||
|
Sky walked out of class with a small collection of books and a
|
|||
|
few floppy disks, and Cruger was waiting for her.
|
|||
|
|
|||
|
"Sky," Cruger said.
|
|||
|
|
|||
|
"Oh, Hi." She looked at him with some apprehension. If she were
|
|||
|
a normal high school girl, she might simply be wondering why
|
|||
|
this grown man had come to talk to her for a second time.
|
|||
|
|
|||
|
Cruger guessed the apprehension was for a different reason.
|
|||
|
|
|||
|
"Do you have a few minutes? I need to ask you a couple of
|
|||
|
questions."
|
|||
|
|
|||
|
She waved her hand at a few classmates walking by. "Well, okay.
|
|||
|
I've got some time right now," she said.
|
|||
|
|
|||
|
They kept walking, drifting toward the benches at the side of
|
|||
|
the paved walkway.
|
|||
|
|
|||
|
"What class was that you just got out of?" Cruger said.
|
|||
|
|
|||
|
"Oh, that's computer lab -- pretty good class."
|
|||
|
|
|||
|
"Sounds worthwhile. What do you do in there, the whole works?"
|
|||
|
|
|||
|
"Yeah, I guess," she said.
|
|||
|
|
|||
|
They sat on a wooden bench, facing away from the flow of
|
|||
|
students. There was a stretch of grass was in front of them as
|
|||
|
well as the school's token piece of art, a small bronze statue
|
|||
|
of a Spanish missionary.
|
|||
|
|
|||
|
Before he got a word out he knew it was too late. She could
|
|||
|
evidently read him much better than he thought.
|
|||
|
|
|||
|
"So you know a lot about us, Cruger. It doesn't matter. Your
|
|||
|
knowledge is irrelevant," Sky said. Her soft schoolgirl's voice
|
|||
|
had become steely cold and hard.
|
|||
|
|
|||
|
"Know what?" Cruger's insincerity was clear both telepathically
|
|||
|
and explicitly.
|
|||
|
|
|||
|
Sky smiled a wicked, gleaming smile . "I hope you're proud of
|
|||
|
yourself. And to think, I sort of liked you." She moved towards
|
|||
|
Cruger as he stood stationary, ignoring all the impulses he felt
|
|||
|
to run or do something equally cowardly.
|
|||
|
|
|||
|
She put her arms around his shoulders and brushed her lips
|
|||
|
across his cheek. She was changing now, into a taller, more
|
|||
|
womanly figure. Her light brown skin was unnaturally smooth and
|
|||
|
perfect, like a photo on a magazine cover. Her eyes became the
|
|||
|
deepest blue-green Cruger had ever seen.
|
|||
|
|
|||
|
"You like me too," she murmured.
|
|||
|
|
|||
|
He tried to move away but she held him with surprising strength.
|
|||
|
Cruger almost laughed at his predicament: here he was trapped by
|
|||
|
a student of feminine beauty. Sky had metamorphosed into
|
|||
|
(probably) the most beautiful woman in the world. She pressed
|
|||
|
herself closer to him, nearly smothering him in her soft face
|
|||
|
and cascades of golden-white hair. With one hand she locked his
|
|||
|
face in a grip much too strong to be coming from her delicate,
|
|||
|
perfect fingers. Her full lips pressed against his. She caressed
|
|||
|
his face with her other hand.
|
|||
|
|
|||
|
"You're mine now," she said.
|
|||
|
|
|||
|
Cruger tried to take a deep breath to stop his trembling, but it
|
|||
|
was no use. He was under her control -- no longer a
|
|||
|
free-thinking individual but a prisoner, a victim, an object of
|
|||
|
a desire that he had no control over. One pocket of Cruger's
|
|||
|
frantic brain screamed the survival siren, the other repeated an
|
|||
|
inappropriate punch line over and over, softly: what a way to
|
|||
|
go. But it wasn't. This wasn't passion, love, or even
|
|||
|
animalistically physical. She laughed, reading his small,
|
|||
|
self-pitying thoughts.
|
|||
|
|
|||
|
"I don't care what you like. I have plans for you," she said. He
|
|||
|
listened and felt the reality of her statement dance across his
|
|||
|
body. Sometimes God throws you a slider, but Satan has the
|
|||
|
wicked sinker. And he sank. Like a caged animal, he stopped
|
|||
|
dreaming of escape through the cage door: his spirit was broken;
|
|||
|
he sank into submission; he gave up.
|
|||
|
|
|||
|
|
|||
|
Chapter 34
|
|||
|
------------
|
|||
|
|
|||
|
Cruger came to consciousness and Sky stood before him. She was
|
|||
|
once more Sky the woman-child; her look of innocence mocked him.
|
|||
|
Cruger's quick self-survey told him that he was mostly uninjured
|
|||
|
and sitting cross-legged on the floor, but he felt dizzy. He
|
|||
|
also felt groggy; his throat felt dry; his eyes were swollen.
|
|||
|
|
|||
|
"What happened?" he said.
|
|||
|
|
|||
|
"You passed out. Out cold," she said, emitting a gleeful
|
|||
|
innocent giggle, as if she had just collected for Unicef or
|
|||
|
returned from a Girl Scout outing. The perfect voice was back,
|
|||
|
dancing like snowflakes in a breeze. "You were scared, poor Mr.
|
|||
|
Cruger," and she laughed again, this time with an air of scorn
|
|||
|
in her angelic voice.
|
|||
|
|
|||
|
"What are you going to do to me now? Rape me? Kill me?"
|
|||
|
|
|||
|
"I've been thinking about it," she said. "You'll be interested
|
|||
|
to know that I think I'll just let you go."
|
|||
|
|
|||
|
The thoughts rushed through Cruger's mind before he could stop
|
|||
|
them: he wanted to immediately go to the office and have Harris
|
|||
|
delete her. Kill her, erase her, get rid of her forever. Cruger
|
|||
|
quickly clouded his thoughts with his emotions of relief and the
|
|||
|
self-applause of his survival system. It seemed to work, Sky
|
|||
|
showed no visible reaction to his thoughts, if she had been
|
|||
|
reading him at all.
|
|||
|
|
|||
|
Cruger's voice was hoarse and weak. He said, "What would they do
|
|||
|
if they found out about that?"
|
|||
|
|
|||
|
"Nothing, nothing at all," she said, laughing as she shook her
|
|||
|
head from side to side. "They're a little disappointed in me,
|
|||
|
though. Even devils have standards, rules, limits, a sense of
|
|||
|
balance. I violated them. They can do take me back to Chysa,
|
|||
|
which is what they were planning anyway. My tenure here is up."
|
|||
|
|
|||
|
"Your two years of service?"
|
|||
|
|
|||
|
"Right," she said. "What good would it do for them to kill me?
|
|||
|
I'm a good little devil -- maybe even an overachiever --
|
|||
|
especially if I'm back home where I can't do much damage. I
|
|||
|
trained for years to do my job; I became one of the very best."
|
|||
|
A frown came over her inappropriately innocent face; her eyes
|
|||
|
darkened. "I don't want to go back, but I have to."
|
|||
|
|
|||
|
"You couldn't hide from them, staying here on earth? Not that
|
|||
|
I'd want you to stay," Cruger said.
|
|||
|
|
|||
|
She smirked at him. "No, they can find me anywhere here -- we
|
|||
|
have tools for that. Within hours they would have me retrieved.
|
|||
|
No point in trying to hide." She looked him squarely in the
|
|||
|
eyes. "You know something? I love life here. I've become so
|
|||
|
human that I can't remember the body I had back home. I'm so
|
|||
|
human that I'm moony over boys and I shop until I drop and do
|
|||
|
the mall scene, I mean all the way, Nordstrom cards and an
|
|||
|
analyst and the whole bit -- all my spoiled friends at school
|
|||
|
with divorced parents have 'em. I love this body, I love your
|
|||
|
food and sports and sex and wine. I fit in better here than on
|
|||
|
Chysa."
|
|||
|
|
|||
|
Cruger wondered about the implications of devils enjoying
|
|||
|
themselves on Earth. Not like a duck out of water at all, he
|
|||
|
thought. The fact that she fit in so perfectly was frightening.
|
|||
|
|
|||
|
She read his mind. "Right, you aren't just a bunch of angels
|
|||
|
here, you know."
|
|||
|
|
|||
|
"And to think you haven't even been to Las Vegas or Manhattan or
|
|||
|
Bangkok; I think you would love it most of those places," he
|
|||
|
said.
|
|||
|
|
|||
|
For a moment she looked almost overwhelmed, as if she were
|
|||
|
finally imagining her life away from Earth. Her large eyes
|
|||
|
focused directly on Cruger's. "No, I really can't kill you," she
|
|||
|
said. "Though you tempt me. What you're doing is important and
|
|||
|
we have this policy of minimal homicidal intervention with
|
|||
|
humans. It especially goes for you, since you're important to
|
|||
|
the future of the universe and that stuff. If I mess with you
|
|||
|
too much, I might cause a Big Enigma."
|
|||
|
|
|||
|
"What do you mean, Big Enigma?"
|
|||
|
|
|||
|
Sky laughed. "You know how the Big Bang starts a universe? Well
|
|||
|
the Big Enigma is a condition where all of the strings existence
|
|||
|
conditions cannot be resolved. Everything cranks to a halt. The
|
|||
|
solution set for all universal planar coordinates would become
|
|||
|
zero. Consciousness would be static, and we're stuck forever.
|
|||
|
Major bogus deal, huh?"
|
|||
|
|
|||
|
Cruger thought about the implications. he wondered if he flirted
|
|||
|
with the Big Enigma every time he spun. And people had been
|
|||
|
worried about nuclear weapons and the greenhouse effect, he
|
|||
|
thought.
|
|||
|
|
|||
|
"We need to continue the game. There's no game if we don't have
|
|||
|
players on both sides, right? Go ahead, do what you have to do.
|
|||
|
Go." Her words were matter of fact. She had decided what to do
|
|||
|
and luckily it left him alive.
|
|||
|
|
|||
|
She turned around and said one more thing: "And you know, I'm
|
|||
|
not the one you're really looking for."
|
|||
|
|
|||
|
Unfortunately, Cruger knew -- he was now certain. Sky was
|
|||
|
telling the truth.
|
|||
|
|
|||
|
She walked away, leaving him to think about that.
|
|||
|
|
|||
|
In ten minutes Cruger was home and walked next door to see if
|
|||
|
Harris was there. No luck. Corrina was at work. Thank God. He
|
|||
|
walked back from Harris's house feeling somehow encapsulated as
|
|||
|
if a fine magical lore surrounded him and the pavement were
|
|||
|
undulant and insubstantial. The space in which he moved seemed
|
|||
|
crystalline and empty; what he felt was horror and relief, all
|
|||
|
rolled into a tight rock that somehow fit into his gut.
|
|||
|
|
|||
|
|
|||
|
Cruger felt guilty from the start, but he figured he had to do
|
|||
|
it. He decided to tail her because, what the heck, he was
|
|||
|
running out of ideas. And he still remembered that his future
|
|||
|
self hadn't been wearing a wedding ring.
|
|||
|
|
|||
|
She drove to a nearby shopping mall with a small medical center
|
|||
|
that Cruger had often seen, but never been to. He saw that there
|
|||
|
must be some mistake. It wasn't the doctor's office -- at least
|
|||
|
not the right kind of doctor.
|
|||
|
|
|||
|
Cruger walked into the waiting room after he saw her, through
|
|||
|
the half-closed blinds, get up and walk past a large ornate
|
|||
|
wooden door, into what Cruger presumed were the doctor's inner
|
|||
|
offices.
|
|||
|
|
|||
|
He gently walked into the waiting room, happy to see no one was
|
|||
|
around -- even the receptionist was gone from her counter next
|
|||
|
to the ornate wooden door. Cruger skulked up to the receptionist
|
|||
|
area, looked into the appointment book, and read her name, clear
|
|||
|
as day, even upside-down, written in the book.
|
|||
|
|
|||
|
Then he got out fast, his heart beating faster than ever, palms
|
|||
|
cold and sweaty, legs threatening to sink him to the ground.
|
|||
|
Damn, I knew it ... I knew it, he told himself. When he made it
|
|||
|
to his car, he just sat there for a while, shaking, waiting for
|
|||
|
the ability to drive to return so he could get the hell out of
|
|||
|
there.
|
|||
|
|
|||
|
|
|||
|
Chapter 35
|
|||
|
------------
|
|||
|
|
|||
|
Always do right. This will gratify some people, and astonish the
|
|||
|
rest. -- Mark Twain
|
|||
|
|
|||
|
Cruger called Tony's office -- they still called it that -- and
|
|||
|
Harris answered. He didn't tell Harris anything except that he'd
|
|||
|
be there in a few minutes.
|
|||
|
|
|||
|
Cruger tried to act cool, natural. Harris showed Cruger how the
|
|||
|
database of strings was laid out. The concept of digital
|
|||
|
representation of every event and person known was staggering.
|
|||
|
|
|||
|
"Isn't it impossible to have this much information stored on a
|
|||
|
small computer?" Cruger said.
|
|||
|
|
|||
|
"Yes, but it's not stored here. This is just God's front end.
|
|||
|
Inside there's that glob of Tvonen technology that seems to be
|
|||
|
doing most of the work."
|
|||
|
|
|||
|
"How close are you to finishing the whole project?"
|
|||
|
|
|||
|
"Pretty close. I think I can issue any command from here, but I
|
|||
|
still haven't run the caretaker program."
|
|||
|
|
|||
|
Cruger looked puzzled.
|
|||
|
|
|||
|
"The two of us can't control the whole show -- I mean, even if
|
|||
|
we do end up being God, we're still only human," Harris said.
|
|||
|
"The caretaker will make sure everything runs smoothly, and will
|
|||
|
keep threads from tangling. We'll still be able to issue
|
|||
|
commands and guide the process, but it'll do most of the dirty
|
|||
|
work."
|
|||
|
|
|||
|
Cruger nodded, let Harris' words sink in, and then spoke.
|
|||
|
|
|||
|
"I need you to make some deletions for me."
|
|||
|
|
|||
|
Harris looked astonished. "Delete people? Why?"
|
|||
|
|
|||
|
"I've found out who the Chysans are -- the aliens who are
|
|||
|
working for the Other Company."
|
|||
|
|
|||
|
"Who?"
|
|||
|
|
|||
|
Cruger ignored the question. "Pull up the deletion program," he
|
|||
|
asked. Harris nodded and brought up the routine.
|
|||
|
|
|||
|
"First, Theodore Natassi from Denver, Colorado."
|
|||
|
|
|||
|
Harris typed the name in, cross-listed with Cruger's thread.
|
|||
|
|
|||
|
"No entry. Who is this guy, and what kind of contact have you
|
|||
|
had with him?"
|
|||
|
|
|||
|
"I think he's near the top of the Other Company. I've never met
|
|||
|
him."
|
|||
|
|
|||
|
"Well," Harris said, "this won't work unless your string
|
|||
|
intersects with his. How about someone else first, someone whose
|
|||
|
string crosses his and yours?"
|
|||
|
|
|||
|
"Easy. Lyle Neswick."
|
|||
|
|
|||
|
Harris' face filled with disbelief.
|
|||
|
|
|||
|
"Neswick? No way, man. Neswick can't be Chysan. That would mean
|
|||
|
that Tamara--"
|
|||
|
|
|||
|
"--is one of them, Leon. They've got to be deleted."
|
|||
|
|
|||
|
"No way," Harris repeated. "No way. I can't believe that
|
|||
|
Tamara--"
|
|||
|
|
|||
|
"I saw her with Sky and Neswick. They're working together... Sky
|
|||
|
admitted it to me."
|
|||
|
|
|||
|
"She was lying!"
|
|||
|
|
|||
|
Cruger shook his head. "She wasn't lying. I know -- I saw her
|
|||
|
change shape. She's Chysan."
|
|||
|
|
|||
|
Harris swiveled around in his chair. "I can't believe it.
|
|||
|
Tamara? It can't be true."
|
|||
|
|
|||
|
Cruger grabbed the computer's keyboard and typed Neswick's name.
|
|||
|
Harris swiveled and grabbed it back, but Cruger managed to make
|
|||
|
a final slap at the return key.
|
|||
|
|
|||
|
"If you delete him, she goes, too!" he said. "He's her father!
|
|||
|
If he never existed, neither did she!"
|
|||
|
|
|||
|
"He's not her father! And now It's done, isn't it?" Cruger
|
|||
|
asked.
|
|||
|
|
|||
|
Harris let out an angry laugh. "No, it's not done." He pointed
|
|||
|
at the monitor.
|
|||
|
|
|||
|
Are you sure you want to delete this person?
|
|||
|
|
|||
|
Cruger tried to grab the keyboard back from Harris, but the
|
|||
|
athletic programmer shoved him away.
|
|||
|
|
|||
|
"They're all working for the Other Company!" Cruger yelled.
|
|||
|
"Neswick, Tamara, Sky... and Corrina." Cruger said.
|
|||
|
|
|||
|
"Corrina?"
|
|||
|
|
|||
|
"Never pregnant. Never an Earth woman. I suspected something was
|
|||
|
weird with the first 'miscarriage'. I never went to a doctor
|
|||
|
with her. Turns out she always went to shrinks instead of
|
|||
|
OB/GYNs."
|
|||
|
|
|||
|
"Holy shit," Harris said.
|
|||
|
|
|||
|
"Yep, holy shit.!" shouted Cruger. "Makes sense now, though. Why
|
|||
|
the hell else was I picked for the Company? Why did Tony come to
|
|||
|
me? I suppose it was my job because of who my wife was. My wife,
|
|||
|
a long- time agent from Chysa!"
|
|||
|
|
|||
|
Harris stared at Cruger in disbelief. Cruger stood for a moment,
|
|||
|
then slumped into a chair. They both sat for a while, just
|
|||
|
looking at the small computer and its screen sitting on the desk
|
|||
|
in the stuffy room. The screen still asked, "Are you sure you
|
|||
|
want to delete this person?"
|
|||
|
|
|||
|
"Let me tell you the story. Maybe it'll make it easier for you,"
|
|||
|
Cruger said. "Sky was living with foster parents. She had been
|
|||
|
sent there at the supposed age of fifteen. No records exist for
|
|||
|
her whereabouts before that point in time. Also, she was pretty
|
|||
|
handy in computer class at school. She had been doing some
|
|||
|
extracurricular work there. Doing the code for Corrina -- that
|
|||
|
murderous code. Before that, she had been keeping tabs on Tony."
|
|||
|
|
|||
|
"So they infiltrated the Company pretty well. How did they do
|
|||
|
it?"
|
|||
|
|
|||
|
"I'm not sure. The only thing we can be sure of is that there
|
|||
|
are more of them that we don't know about."
|
|||
|
|
|||
|
"Thank you," Harris said, "a very comforting thought."
|
|||
|
|
|||
|
Cruger continued. "Seems that Sky was having some real
|
|||
|
adjustment problems to life here. She was referred to a
|
|||
|
psychiatrist by the High School guidance counselor. Probably
|
|||
|
same shrink Corrina originally went to. She stopped going a few
|
|||
|
weeks ago, the records say. I got the name of the doctor from
|
|||
|
the school counselor but I can't find that doctor listed
|
|||
|
anywhere. Gone."
|
|||
|
|
|||
|
"That's suspicious, but a lot of things are suspicious."
|
|||
|
|
|||
|
"Another suspicious thing was that Sky, Tamara, and Neswick all
|
|||
|
knew each other very well. I followed Sky over to Neswick's
|
|||
|
place once. Then the three of them were all together over there,
|
|||
|
enacting the words Menage a troi."
|
|||
|
|
|||
|
"Neswick and Tamara, that's disgusting," Harris said. His voice,
|
|||
|
charged, higher than usual, rang of hurt.
|
|||
|
|
|||
|
"Come on, he was no more related to her than you were. That was
|
|||
|
all an act." Realizing that Harris may have been more attached
|
|||
|
to Tamara than he had guessed, said, "Sorry if this hurts --
|
|||
|
but, it has to be done. We've got to delete them all."
|
|||
|
|
|||
|
"Don't worry about it. I wasn't going to ask her to marry me.
|
|||
|
But I was dumb enough to get pretty involved with her. You know,
|
|||
|
agents of Beelzebub make pretty good girlfriends. She did
|
|||
|
everything to make me happy: had her own money, loved sex, loved
|
|||
|
computers, and never had to visit her mom or go to
|
|||
|
confessional."
|
|||
|
|
|||
|
"Sounds pretty good. Can't blame you for biting the hook,"
|
|||
|
Cruger said. "I did."
|
|||
|
|
|||
|
"Yeah," Harris said, picking up the keyboard. "Let's get this
|
|||
|
over with."
|
|||
|
|
|||
|
"Don't do it," said a muffled voice from behind them. Nobody had
|
|||
|
come in the door, but someone was there. They both turned to see
|
|||
|
who it was.
|
|||
|
|
|||
|
Standing in the corner was a huge figure in a silver spacesuit.
|
|||
|
|
|||
|
"My name," the figure said, "is Natassi."
|
|||
|
|
|||
|
|
|||
|
Chapter 36
|
|||
|
------------
|
|||
|
|
|||
|
That was when Cruger put it all together -- the mystery man in
|
|||
|
the house in Denver.
|
|||
|
|
|||
|
"The devil himself, huh?" he said.
|
|||
|
|
|||
|
Natassi turned to Cruger. "That's what Uraken and the rest of
|
|||
|
the Company would call me, yes. And it seems that you've taken
|
|||
|
the biblical allusions to heart -- you're working for God, on a
|
|||
|
mission against Satan."
|
|||
|
|
|||
|
"More or less," Cruger said. "Satan was a fallen angel, right? I
|
|||
|
guess that makes you an outcast Tvonen."
|
|||
|
|
|||
|
"Very true." The figure stepped forward, the floor creaking with
|
|||
|
his weight. Harris stood up suddenly but Natassi raised his
|
|||
|
hand, signalling him to stop. "I'm not the evil creature they
|
|||
|
would have you believe I am. I worked for the Company; I helped
|
|||
|
form it before humans had domesticated a beast -- before Uraken
|
|||
|
was born. And I was thrown out -- not because I was promoting
|
|||
|
evil, but because I was promoting free will."
|
|||
|
|
|||
|
"What?" said Harris.
|
|||
|
|
|||
|
The figure shifted its weight and the silver suit hissed, making
|
|||
|
it seem as if Natassi were sighing. "Do you know how the
|
|||
|
universe works, Mr. Harris?" Natassi asked. "As it currently
|
|||
|
stands, spinners guide the threads of the universe
|
|||
|
subconsciously, with their art. It's an organic method, one that
|
|||
|
allows for a great deal of... spontaneity. It's as close to free
|
|||
|
will as anyone can get.
|
|||
|
|
|||
|
"But the goal of the Company is omnipotence. The Unified Theorem
|
|||
|
is the ultimate application of that design. With your computer,
|
|||
|
you'll be able to run everything -- anything. Total control."
|
|||
|
|
|||
|
"So you're saying you're a good guy looking out for the little
|
|||
|
people?" Cruger said incredulously. "I'm supposed to believe
|
|||
|
that?"
|
|||
|
|
|||
|
"What about you?" Harris spoke up. "How does killing people work
|
|||
|
into this plan of yours?"
|
|||
|
|
|||
|
This time, Natassi may have sighed. "We take what help we can
|
|||
|
get. Chysans are independent by nature: they despise authority
|
|||
|
and control, and hence the goals of the Company. Chysans enjoy
|
|||
|
as much violence and killing as they can find. We've tried to
|
|||
|
keep the Unified Theorem as far away from completion as
|
|||
|
possible. Tony was close, and he would have implemented the
|
|||
|
program the second it was ready. We killed him."
|
|||
|
|
|||
|
"And now you're going to kill us?" Harris asked, trying to guess
|
|||
|
how long it would take to quit out of the deletion routine and
|
|||
|
launch the caretaker program. "Where are your Chysan thugs?"
|
|||
|
|
|||
|
"They aren't here," Natassi said. "And they won't be. It seems
|
|||
|
that this meeting is the best we can hope to do. We're at the
|
|||
|
last moment of free will, and I'm here to make my last request."
|
|||
|
|
|||
|
"Which is?"
|
|||
|
|
|||
|
Natassi stepped forward. "Stop the Company!" he hissed. "Make it
|
|||
|
so there are no more spinners -- so that those blue glows
|
|||
|
disappear forever! Then have the computer delete itself. Let the
|
|||
|
universe be on its own, to do whatever it wants."
|
|||
|
|
|||
|
"Total chaos," Harris said. "Sounds like something the devil
|
|||
|
would advocate."
|
|||
|
|
|||
|
Harris pressed down on the key combination that took him out of
|
|||
|
the deletion routine, back to the main menu. The computer screen
|
|||
|
flashed briefly.
|
|||
|
|
|||
|
"Don't start it!" Nattasi said, his voice rising. "Uraken's like
|
|||
|
almost every other Tvonen -- he wants total control. You're
|
|||
|
giving it to him! The Tvonen will rule the universe. Take it
|
|||
|
from me. You don't want to see an omnipotent Tvonen."
|
|||
|
|
|||
|
Cruger looked at Harris. Cruger thought about Corrina, and about
|
|||
|
what the alien in front of him represented. Then he nodded at
|
|||
|
his partner, who tapped a few keys.
|
|||
|
|
|||
|
The disk drive whirred briefly; the program ran.
|
|||
|
|
|||
|
There was a God.
|
|||
|
|
|||
|
The alien began to fade away with an effect that looked more
|
|||
|
like smoke dissipating in a breeze than the Star Trek sparkles
|
|||
|
Cruger had expected to see.
|
|||
|
|
|||
|
"The Chysans won't be happy," Natassi whispered as he vanished.
|
|||
|
"I hope you can live with your decision."
|
|||
|
|
|||
|
|
|||
|
A little while later the menu bar of the computer's screen
|
|||
|
flashed. The flash was followed by a gentle chiming sound effect
|
|||
|
that snapped the two men into a state of alertness.
|
|||
|
|
|||
|
"I don't believe it," said Harris. "We got a message off the
|
|||
|
network. Someone, something on the other end of that cable
|
|||
|
finally contacted us."
|
|||
|
|
|||
|
"Are you sure?"
|
|||
|
|
|||
|
"Damned sure. The only way we get this alert message is an
|
|||
|
incoming network packet."
|
|||
|
|
|||
|
The message, displayed across the screen in large italic type,
|
|||
|
was short and simple:
|
|||
|
|
|||
|
Congratulations on a job very well done. You're both on your own
|
|||
|
now. You're in charge. Congratulations on your promotions.
|
|||
|
--Uraken
|
|||
|
|
|||
|
|
|||
|
Cruger looked at Harris who returned the look. Cruger's mouth
|
|||
|
was open. His eyes were blank and his mouth then twitched as if
|
|||
|
either to begin talking or drooling.
|
|||
|
|
|||
|
"Congratulations?" Harris said.
|
|||
|
|
|||
|
Cruger composed himself a little. "Uraken?"
|
|||
|
|
|||
|
"What really gets me is the 'You're on your own' part. What do
|
|||
|
you think?"
|
|||
|
|
|||
|
"I think we're in charge now," Cruger said. "Which means that
|
|||
|
the people who are running the universe aren't Tvonens after
|
|||
|
all."
|
|||
|
|
|||
|
"The people who are running the universe..."
|
|||
|
|
|||
|
They stood there, less Godlike than anyone would ever have
|
|||
|
imagined, balancing their suddenly weak bodies on the feet of
|
|||
|
men who had just finished a marathon. "Congratulations" was the
|
|||
|
word that stuck with Cruger.
|
|||
|
|
|||
|
Cruger turned to Harris. "Congrats," he said, not sounding
|
|||
|
jubilant. "I think I'm going to go home and tell Corrina to get
|
|||
|
her ass back to Chysa."
|
|||
|
|
|||
|
"I'm thinking..." Harris said, letting the last word trail off
|
|||
|
into nothingness.
|
|||
|
|
|||
|
"Of what?"
|
|||
|
|
|||
|
"Nothing much. A programming project I did in college is coming
|
|||
|
back to me -- a random number generator. I'm thinking about
|
|||
|
writing a new one."
|
|||
|
|
|||
|
|
|||
|
Epilogue
|
|||
|
----------
|
|||
|
|
|||
|
It was Thursday night and Cruger was playing his regular sets of
|
|||
|
solo guitar at the Cafe Emerson. It had been two months since he
|
|||
|
had become co-keeper of the universe, two months since he'd went
|
|||
|
home to find Corrina already gone.
|
|||
|
|
|||
|
His guitar chops felt good, but remembering Corrina brought him
|
|||
|
down. It takes a while to get over losing someone you loved,
|
|||
|
even if they aren't what they appear.
|
|||
|
|
|||
|
When two guys came up to him and shot him through the head, he
|
|||
|
wasn't even surprised. Spinners were being attacked all over by
|
|||
|
Chysans unhappy with the dissolution of the Other Company. They
|
|||
|
evidently didn't understand what "insurance" was.
|
|||
|
|
|||
|
So Harris's employee safety program kicked in immediately and
|
|||
|
Cruger was alive again, the bullets back in the thirty-eight,
|
|||
|
and two assailants erased forever. The only person in the Cafe
|
|||
|
that even knew something had happened was Cruger. Within a few
|
|||
|
seconds, he was able to take a deep breath and put it out of his
|
|||
|
mind.
|
|||
|
|
|||
|
Cruger said a silent thank-you to Harris, made a mental note to
|
|||
|
remember to thank him in person at the office in the morning,
|
|||
|
and decided to do one more tune before ending the set.
|
|||
|
|
|||
|
He played Someone To Watch Over Me with a wry smile stretched
|
|||
|
across his face. It was an excellent rendition, of course --
|
|||
|
probably the best any of the people in the bar had heard. Even
|
|||
|
the mistakes Cruger made -- and there were a few-- just added to
|
|||
|
the feeling and humanity of the performance.
|
|||
|
|
|||
|
An a unique performance it was. After all, most people did the
|
|||
|
song as a ballad. But not Cruger -- he played it fairly
|
|||
|
up-tempo.
|
|||
|
|
|||
|
After all, if you can't set your own tempo, then who are you,
|
|||
|
anyway?
|
|||
|
|
|||
|
Jeff Zias (ZIAS1@AppleLink.apple.com)
|
|||
|
----------------------------------------
|
|||
|
|
|||
|
Jeff Zias has begun a stint with the spin-off software company
|
|||
|
Taligent after a ten-year stint writing and managing software at
|
|||
|
Apple Computer. Jeff enjoys spending time with his wife and two
|
|||
|
small children, playing jazz with Bay Area groups, writing
|
|||
|
software and prose, and building playhouses and other assorted
|
|||
|
toys for his children to trash. Having actually been a studious
|
|||
|
youth, Jeff has a BA in Applied Mathematics from Berkeley and an
|
|||
|
MS in Engineering Management from Santa Clara University.
|
|||
|
|
|||
|
|
|||
|
FYI
|
|||
|
=====
|
|||
|
|
|||
|
Back Issues of InterText
|
|||
|
--------------------------
|
|||
|
|
|||
|
Back issues of InterText can be found via anonymous FTP at:
|
|||
|
|
|||
|
> ftp://ftp.etext.org/pub/Zines/InterText/
|
|||
|
|
|||
|
and
|
|||
|
|
|||
|
> ftp://network.ucsd.edu/intertext/
|
|||
|
|
|||
|
You may request back issues from us directly, but we must handle
|
|||
|
such requests manually, a time-consuming process.
|
|||
|
|
|||
|
On the World-Wide Web, point your WWW browser to:
|
|||
|
> http://www.etext.org/Zines/InterText/
|
|||
|
|
|||
|
If you have CompuServe, you can read InterText in the Electronic
|
|||
|
Frontier Foundation Forum, accessible by typing GO EFFSIG. We're
|
|||
|
located in the "Zines from the Net" section of the EFFSIG forum.
|
|||
|
|
|||
|
On GEnie, we're located in the file area of SFRT3, the Science
|
|||
|
Fiction and Fantasy Roundtable.
|
|||
|
|
|||
|
On America Online, issues are available in Keyword: PDA, in
|
|||
|
Palmtop Paperbacks/Electronic Articles & Newsletters.
|
|||
|
|
|||
|
Gopher Users: find our issues at
|
|||
|
> ftp.etext.org in /pub/Zines/InterText
|
|||
|
|
|||
|
....................................................................
|
|||
|
|
|||
|
Don't take any wooden magnets!
|
|||
|
|
|||
|
..
|
|||
|
|
|||
|
This issue is wrapped as a setext. For more information send
|
|||
|
email with the single word "setext" (no quotes) in the Subject:
|
|||
|
line to <fileserver@tidbits.com>, or contact the InterText staff
|
|||
|
directly.
|
|||
|
|