2913 lines
148 KiB
Plaintext
2913 lines
148 KiB
Plaintext
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This is a novel which is being marketed electronically using a
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concept similar to shareware. That is, if you like this novel, you
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can send $5.00, along with your name and address to:
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NEW HISTORY BOOKS
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c/o Farber
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190 Union Street
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Poughkeepsie, NY 12601
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By registering in this way, you will be informed of any publication
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news concerning BREAKS and the sequel, now in the works, BREAKS2.
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You will also receive a four-issue subscription to NEW HISTORY, the
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journal of culture in ferment.
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If you would prefer reading this in the pre-electronic format, send
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$17.00 for a nicely typeset copy, 8.5x11, spiral bound, with
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laminated, full color covers, signed and numbered limited edition.
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Some word processors insert a justification code at the top of a
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text file. If the format looks screwy on your screen, you may need
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to delete that code. Unfortunately, there is no way preserve some
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of the italics and other formatting which is a part of the novel.
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Enjoy!
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BREAKS: The Adventures of Richard Nixon in the 21st Century
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by Philip H. Farber
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copyright 1992-1993
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1. AT THE GATES OF LIFE AND DEATH
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The gates were open and the water was rushing through
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unimpeded, with all the brightness of holy Quaker honesty, swirling
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eddy I sparkles the light was fates I am not extended other open.
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No, that, a small thing. The water was light, the gates of heaven,
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the law for all. The light was power and the tiny withering thing
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was somewhere far away, the thin connecting cord stretched near
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infinity. Withered, wasted, twisted with knots that once stopped
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the flow, diverted it to games, pains, drains, rules, lies,
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ambitions, no flow back the water neither twisted with knots spare
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not the light the gate shred, it was aside, away, inconsequential.
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The flow was greater these last years of eternity, the other
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less, had always been this way. There was no other. The withered
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thing could be shed, cast off, a last dry shred of cocoon husk into
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the whirling wind. Just a little thing now connecting it light
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roaring and crackling through bliss brightness of holy thing the
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insignificant world of dry things. Holding on so long let it go
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break it drop away, pity thing the ambitions, soar and flow back
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with the rest of the light the bliss the way.
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Something else, swirling eddy of sparkles, a shape, a thought,
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a command all the same, me? It? I am not extended other open. Stay,
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the time is not. Bring us together. Condemned to feel the forms the
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knots the pains, rules be off less my the and torture. The withered
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thing damn them who the withered the thin the crackling the
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insignificant was growing moist as the gates carried the water
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through it from the everything flow. Cord strengthens, drawing in,
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diminishing.
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Darkness.
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2. OVAL OFFICE AND INTRAVENOUS
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Richard Nixon was back in the White House.
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A nutrient solution dripped slowly into his arm through a
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clear plastic tube. A bank of flatscreens against the ancient wood
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and plaster showed colorful signs of fragile life. His eyes opened.
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What? Who? A familiar ceiling, but... something... What had
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happened? Where was he? Who? I...
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"Ah, Mr. President. You're conscious. I thought you would be."
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President? I must have been dreaming. A long strange dream.
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Something about money, a fund. We're gonna keep the dog! Haldeman
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and Ehrlichman. Gordon Liddy. Dean. Long years of exile,
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bitterness. Shit. Relief. Only a dream.
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"Pat? Is that you? Pat?"
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"Pat is not... with us, Mr. President. I'm sorry."
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A face came into view, white hat, a nurse, a gentle smile. The
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place, a bed, his body aching in every joint. What was it?
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Assassination attempt? The damned liberals! Pat killed...
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"What happened? What is happening?"
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"You've been in a coma for a long time, Mr. President. You
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were very old. But you're doing better, now. You're doing better."
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"Coma? I... I don't remember. I..."
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"Dr. Siva gave you the drug, the O.Z. It worked just fine. You
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should be up and around in no time."
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Nixon tried to turn his head, to see the room, to see if he
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really was in the White House. It looked so familiar. But the
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darkness was swirling in again.
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No light this time. No dreams.
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3. A SHOT IN THE BUTT
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It was morning and the curtains were open, the sun streaming
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in. Some people were standing around the bed, their smiling faces
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slowly coming into focus.
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"Good morning, Mr. President," said a small, dark man with a
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faint East Indian accent. "We're glad you're back at the helm!"
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"Metabolism is nearly back to the level of, say, a sixty-year-
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old," said a nurse. "He should be fine."
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"We're going to give you another shot of O.Z., Mr. President.
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Can you roll over? Here, the nurse will help you."
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O.Z.... Something about that. An illegal drug. Drugs in the
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White House? Damn. What was going on?
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"No..." But it was too late. He felt a moment of sharp pain in
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a buttock, then hands rolling him onto his back again.
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O.Z.... He remembered. That stuff they said could make you
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young again. Unapproved. Illegal... Shit! Now he remembered! Dr.
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Siva. The man who discovered the drug. The Wizard of O.Z.
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"Drugs," Nixon mumbled. "I don't want any drugs. Dr. Siva..."
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"It's all right, Mr. President," Dr. Siva said. "The O.Z. has
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saved your life. If the President does it, it's not illegal,
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right?"
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"Smart, yes, okay." He felt a little better.
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"Do you know where you are now?" asked Siva.
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"White House..."
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"Yes. Yes, indeed. You're President again, Richard. After all
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these years. Do you know how many years you were in a coma?"
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"Uh, I..."
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"Five years, Mr. President. And you've been President again
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for two years, now. The American people elected you in 2004. A
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landslide. Unanimous, actually." Siva grinned. "Here, look."
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He held up a small round object, a pin. Nixon looked into it,
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a three dimensional image, words with red, white and blue stars
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dancing and sparkling all around it. Weird, but the words were
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familiar: PRESIDENT NIXON. NOW MORE THAN EVER.
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"But, if I was in a coma... How come... Why...?"
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Siva's grin seemed to creep a little further toward his ears.
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"Well, actually, Mr. President, no one else wanted to do it. We
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didn't think you'd mind. You were the only living ex-president or
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vice president. The rectal cancer, you know. Oh, except for Jimmy
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Carter, that is. But he has his position at L5, after all."
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Yes, he remembered something about the rectal cancer. A plague
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that mysteriously took the politicians, starting with former West
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German chancellor Willy Brandt in '92, then sweeping through
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Washington, Moscow, Beijing, all the world capitals.
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"If they had been willing to try the O.Z.," Siva went on,
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"they might have made it. But maybe we're better off... Anyway, we
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almost lost you too. Not to the plague, somehow, but just to age,
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system failure, hardening of the arteries. We don't know why, but
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somehow you didn't get the plague. Look."
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It was another campaign button, a startlingly real hologram
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reading: NIXON: A TOUGH-ASS PRESIDENT
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4. A DREAM
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Engines rumbling, black smoke pouring from the stack, the
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locomotive clattered and roared through the California night. Dick
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was at the helm again, feeling proud and in control. He could take
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this train anywhere, anywhere he wanted in the starry night. He was
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going for a touchdown.
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"Let's get 'em!" shouted Nixon's father from the machine gun
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turret. "Let's kick their bring asses, the crooked bastards!" He
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fired a burst into the big teapot dome of a building, but he missed
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engage in this warfare serious social problems stop that Judeo-
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Christian Dick. He missed the communist us bastards.
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"Stop that, father," Dick implored. "It doesn't befit the holy
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dignity of the railway!"
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"Damn it, son!" Frank Nixon pounded a bible. "Billy Graham
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wrote this book! This is a crusade! A crusade to Congress! We must
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derail this together train!" The machine gun Judeo-Christian none
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of these problems in control.
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Dick's mother, wearing a red dress, jumped down from her post
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on the coal car. "I will engage in this warfare no longer! I'm
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leaving!" She jumped off the train into the night. Nixon hung on
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tight as the locomotive hit her and shuddered, shook, blowing
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sparks from the stack. Dick was McCarthy it doesn't befit Hiss the
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starry night such a solution shouted black smoke.
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He was twelve years old and alone, in an empty state, the
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lemons rotting on the trees. Ours is a nation and roared through a
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bible stop.
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5. A NEW MAN
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Nixon woke with a raging hard-on.
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He reached down, under the sheets, and touched it. It felt
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good.
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Incredible, he thought. It's been how many years?
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He touched it a little more. He thought about Pat, when they
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first got married. He thought about Ola Florence Welch, so long
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ago.
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Wait a minute! Is this how a president acts? What is it that
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I used to do?
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He pictured the face of Leonid Brezhnev. The erection began to
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subside. He pictured the face of Mao Tse-Tung, old, wrinkled and
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senile.
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He pictured the young nurse who had attended to him earlier,
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her crisp uniform filled out with firm curves. The hard-on was
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back, bigger, throbbing.
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He pictured himself seated in his Oval Office chair, a stack
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of fresh legislation on the desk, a new speech taking form in his
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mind. But it was too late. Nixon shuddered as he ejaculated. It
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felt great. No! It felt Billy Graham the holy dignity and roared
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through into the feeling proud and Judeo-Christian. Yes. No!
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Sticky fluid ran all over his abdomen, his thigh. The sheet
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stuck to him.
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Shit! What do I do now?
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The nurse came in.
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"Hello, Mr. President!" she greeted him cheerily. "My, aren't
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you looking young today! How do you feel?"
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"Uh, I, okay..." He prayed fervently that she wouldn't notice
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the spreading wet spot on the sheet.
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"Oh, my! Mr. President! We are feeling younger, aren't we? Let
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me get a sponge. I'll get you cleaned up."
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"Uh, no, I, uh, I can take care of it myself."
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"Well, all right, Mr. President. There's a towel on the
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nightstand." She wavered, as if to turn away, then came back toward
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him, a mischievous smile on her face. "What were you thinking
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about, Mr. President? I mean, when you, uh... when you came."
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The president, who had been turning somewhat reddish, became
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pale. "What!? I, well... at this time... I want to be clear about
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this... I, uh, can't recall. Damn."
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The nurse rested a warm hand on his shoulder and he flinched
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away.
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"You know, it's okay, Mr. President. It's normal. It's
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healthy, especially after your O.Z. injections. I was
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uncontrollably horny for months, myself, after I started on O.Z. I
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fucked almost anything that..."
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Nixon's eyes were bulging, his mouth open. Beads of sweat had
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formed on his enormous forehead. With effort, he averted his gaze
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from the nurse, who had begun to squirm a bit, unconsciously, with
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the memory of her returning youthful vigor. He closed his eyes and
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focused on Brezhnev.
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"But I shouldn't be telling you this. You still need your
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rest. Maybe later? Let me just check your screens and I'll be out
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of here."
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Brezhnev. Mao. What a tramp. The nurse was a slut.
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He listened as her gum-soled shoes padded around the room,
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then went out the door. He grabbed the towel and pulled it under
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the sheet.
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6. BACK AT THE HELM
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Nixon ran his hands over his face. The skin was smooth, the
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loose folds were tightening up and muscles all over were growing
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stronger. It felt strange, but not entirely unpleasant.
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He sat up straight in the new, big swivel chair and placed his
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palms on the desk. The wood felt cool, solid, the very foundation
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of presidential power. Quite a few things had changed, here in the
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Oval Office, but the solidity of the desk was reassuring.
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It was a little strange, though, to be here with everything so
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quiet and empty. There was no activity, no sound of servants and
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bureaucrats in the hallway, just a gentle hush from an air
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circulator. There was no paperwork on the desk, no tape recorder
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concealed inside. Nothing but a gold-plated pen which did not work
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(he had tested it on the end of a finger). That and a small gray
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box, about the size and shape of a personal stereo from the
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nineteen eighties. Attached to the gray box with a flexible, coiled
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wire was what looked like a set of swim goggles with odd lumps and
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protuberances all along the headband. Nixon couldn't divine their
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purpose and when he held them to his eyes he found they were
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opaque.
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A gentle knock on the door interrupted Nixon's contemplation
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and Dr. Siva entered.
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"Ah! Our figurehead back at the prow of the ship of state!"
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The doctor grinned.
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Nixon frowned. "Figurehead?"
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"Well, I mean to say that you are back in a leader's place,
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visible to all! You look very good, Mr. President. Have you looked
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in the mirror? No more jowls."
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"Yes, of course. Thank you. I... What can I do for you,
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doctor?"
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"Well, Mr. President, I just came to say goodbye. My work is
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finished. You will probably need one more injection, in about two
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weeks, but Nurse Bounty can take care of that. Anyway, we are, as
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they say, out of the woods, so I'll be going."
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"Uh, thank you very much, doctor. Thank you for your care.
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Where will you be going?"
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"Where the weight of the world is less heavy upon me. Back
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home, to my family. Goodbye. It has been a pleasure to serve you."
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Siva bowed, smiling, and turned toward the door.
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"But wait!" Nixon called abruptly. "Wait. I... don't know
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anything. Where is my cabinet? Where is Congress? Or even a
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newspaper?"
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"Try the computer, Mr. President. I think you'll find
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everything you need."
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"Computer? Where? I don't..."
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"Computer, V.R., cyberspace deck. That thing." Siva pointed at
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the small gray box on the desk. "Put on the goggles, fit the
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earpieces over your ears and tell it to begin. When you learn how
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to use it, perhaps we will meet again." The doctor turned and left.
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Nixon picked up the headset and looked at it for a while. Then
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he held the goggles over his eyes and stretched the headband around
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his head. Padded lumps rested gently against his ears.
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"Uh," he said. "Begin?"
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His head lit up with a vibrating neon and pastel landscape. A
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world of fantastic shapes and incomprehensible figures. It was
|
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dazzling, confusing, amazing.
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"CyberNet ready," a gentle, androgynous voice said. "Do you
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need help?"
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7. NIXON IN CYBERSPACE
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It was surreal, harsh to Nixon's senses. Strange shapes
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littered a plane, in some places arranged with symmetry and order,
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in others, randomly jumbled. A low, gurgling hum seemed to come
|
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from everywhere at once. Moving about on this weird landscape were
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a multitude of what might have been cartoon representations of
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humans, or perhaps insects of some sort. Nixon thought of his first
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visit to Manhattan, long, long ago. Every object, every action,
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held intimation of great, secret power, an inside world attainable
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only through cunning and action.
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Closer inspection revealed that the profusion of shapes <20>
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cubes, spheres, pyramids, berry-like clusters of gleaming oblate
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blobs and things too complex or convoluted for an easy name in
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Nixon's mind <20> were composed of rows and columns of various
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symbols. Simply turning his attention toward something made it seem
|
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like he was zooming toward it, the symbols and figures becoming
|
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more distinct, revealing their tendency to flow or march in
|
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patterns like bees swarming over a hive. Symbol roads and symbol
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|
highways conducted pulsating streams of strings and digits between
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different structures, the figures changing color, mixing and
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forming new combinations.
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Vertigo.
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"Help," Nixon said. "Help."
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"Help file open," said the disembodied voice. "The Earth
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CyberNet Help File is a public service provided by independent
|
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programmers.
|
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"Movement and direction are controlled by intention. Menus and
|
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|
specific files may be accessed by stating a file name or key word.
|
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Display command will provide full, three-dimensional display unless
|
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otherwise specified. Some information and files require a user fee;
|
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this will be clearly stated when necessary. Specific information on
|
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programming languages will be found in documents filed under the
|
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names of the languages.
|
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"CyberNet ready."
|
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"I am President of the United States."
|
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"Information is available in the following categories: history
|
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of the presidency; responsibilities, powers, checks and balances of
|
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the executive office; current documents and files relating to the
|
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office; biography and analysis of the current president; news
|
|||
|
priorities relating to the presidency; current communication
|
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|
directed to the president. See also American government and
|
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politics, foreign policy, domestic policy, comparative world and
|
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|
interplanetary government."
|
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|
"Oh, my. How about current communication directed to the
|
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president?"
|
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|
"Accessing. Security clearance needed. Please state full name
|
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|
for vocal recognition."
|
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"Richard Milhous Nixon."
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"Recognized."
|
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|
The scene shifted abruptly and Nixon found himself in a
|
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|
brightly vibrating computer simulation of his Oval Office. He
|
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|
looked at the desk and swivel chair and suddenly found himself
|
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|
seated there. In this world, the desktop was full, half a dozen
|
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documents arranged for easy viewing. He looked at the first one on
|
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the left and it expanded out to fill his view.
|
|||
|
What had seemed to be a document now appeared to be a small,
|
|||
|
empty, gray room occupied by a single androgynous figure. The
|
|||
|
features of the figure were stylized, a sort of generic young
|
|||
|
person, childlike but intelligent, short hair with a single
|
|||
|
forelock dangling over the forehead.
|
|||
|
8. A MESSAGE
|
|||
|
|
|||
|
The cartoon figure faced Nixon. It raised its right forefinger
|
|||
|
to its lips, then flung the hand and arm out and away in a broad
|
|||
|
sweeping gesture, bellowing violently, a string of incomprehensible
|
|||
|
syllables. It turned around slowly, performing the gesture and yell
|
|||
|
for each of the four quarters.
|
|||
|
Is this real? Nixon thought. I... What? Where?
|
|||
|
The figure's cartoon eyes locked onto Nixon, unblinking. It
|
|||
|
began to speak.
|
|||
|
"In space we tell a story, not written too long ago, but
|
|||
|
ancient with the accumulation of new stories. It is about one like
|
|||
|
you, returned from the land of the dead, dwelling as a king in the
|
|||
|
underworld.
|
|||
|
"The land of the dead is a place beyond space and time,
|
|||
|
presided over by a beautiful one at times in the shape of a
|
|||
|
vulture, at times in many other forms. The man had feet of clay,
|
|||
|
his life-force tied to flesh and earth and stone, too heavy to
|
|||
|
float free. It is impossible to move and drift like the beautiful
|
|||
|
ones when the connections to the world of matter and energy are
|
|||
|
still strong. The vulture one sends the dead ones to the places
|
|||
|
where they must go. Punishment? Reward? There is none of this, but
|
|||
|
just the place where one must go: back to the land of the living,
|
|||
|
as life or as life-force itself; on to the world of the beautiful
|
|||
|
ones, swirling eddy I sparkles the light, when the last spatial
|
|||
|
forms, body, personality, mind, are shed away.
|
|||
|
"The man went back, his old body renewed by the time and place
|
|||
|
and everything flow of the life-force. Back to the throne he had
|
|||
|
left long ago. But no longer was he so tied to the ground, so hard
|
|||
|
and heavy and immobile. His dip into the other world, his bath in
|
|||
|
eternity, and the time and place of the life-force, had lightened
|
|||
|
him. At times he still longed for the solid stillness, the
|
|||
|
straight-line up or down, of his old self. This caused turmoil in
|
|||
|
his light-filled mind.
|
|||
|
"But there was now enough light in him that his body and mind
|
|||
|
could read something of where he might go. He learned a pattern,
|
|||
|
not so much by study, but by unconscious tuition of the life-force.
|
|||
|
This was not always easy, for he had to learn how to die properly
|
|||
|
and, in a way, he died again and again, such a solution shouted
|
|||
|
black smoke. Each self that formed around the light in his head had
|
|||
|
to live and die, again and again and again.
|
|||
|
"Finally, after uncountable years of life and death, the light
|
|||
|
had carried him swiftly, like water through the eternal gates, to
|
|||
|
full resurrection <20> not just of his body, but of the true being of
|
|||
|
life-force that he was. And so he was renewed and the space that he
|
|||
|
ruled prospered and grew.
|
|||
|
"We call this the Tale of the Dead King and we tell it to our
|
|||
|
magickal children."
|
|||
|
9. WHAT THE FUCK?
|
|||
|
|
|||
|
As the message ended, the small room and the androgynous
|
|||
|
figure disappeared with a snap. Nixon found himself back in the
|
|||
|
bright simulation of his office, documents arrayed before him on
|
|||
|
the desk.
|
|||
|
"What the fuck?" he asked no one in particular. "What the
|
|||
|
fuck?"
|
|||
|
"Origin of message... unknown," said the voice of the
|
|||
|
cybernet. "Existence of message on your desk suggests possible
|
|||
|
tampering with security codes." There was a brief pause. "Remaining
|
|||
|
desk documents scanned and confirmed to be in conformity with legal
|
|||
|
codes and identification guidelines."
|
|||
|
His mind swirled; the vertigo had not fully faded. He looked
|
|||
|
at the next document.
|
|||
|
10. CYBERLUST
|
|||
|
|
|||
|
The simulation of a woman which suddenly appeared in his
|
|||
|
office was quite attractive. In a vivid, cartoonish sort of way,
|
|||
|
she looked wholesome, American, friendly. She reminded Dick of Pat,
|
|||
|
way back when. She had light brown hair, falling to her shoulders
|
|||
|
with a slight, glamorous curl. Her dress, of a decent length, was
|
|||
|
checkered, red and white. If a computer simulation could smell,
|
|||
|
Nixon thought, she would have a scent of garden flowers, or perhaps
|
|||
|
apple pie.
|
|||
|
"There you are," she smiled. "I've been waiting for you. I'm
|
|||
|
a prerecorded, but fully interactive, simulation of Martha, your
|
|||
|
volunteer orientation counselor. You can meet Martha in real time,
|
|||
|
later, by requesting the cybernet to signal her terminal. In the
|
|||
|
meantime, do you have any questions?"
|
|||
|
"I, uh, that is, I'm not quite sure what's going on."
|
|||
|
"Quite understandable. This is a new life for you, in a way.
|
|||
|
A lot of things have changed. Where would you like to begin?"
|
|||
|
A strange impulse swept through him, a feeling that seemed to
|
|||
|
come from the distant past, something that he barely remembered: a
|
|||
|
taste of adventure, the surging of blood in his veins, awareness of
|
|||
|
his heart pounding in his chest.
|
|||
|
"Who are you?" he asked. "Please... tell me about yourself."
|
|||
|
"I'm just a recording, Mr. President. Just a set of patterns
|
|||
|
and tendencies and information stored in the cybernet. Later you
|
|||
|
can meet the real Martha. Perhaps she can tell you."
|
|||
|
"Uh, well then. I guess I need to be up to date on, uh,
|
|||
|
history, current events. Whatever happened while I was out of
|
|||
|
action. But I think first I'd like to see the rest of the documents
|
|||
|
on my desk."
|
|||
|
"Very good, Mr. President."
|
|||
|
"Martha... May I call you Martha?"
|
|||
|
"Of course. May I call you Dick?"
|
|||
|
"Oh, uh, certainly. Martha...?"
|
|||
|
"Yes, Dick?"
|
|||
|
"I'm very glad to be working with you. Very glad."
|
|||
|
11. BREAKS
|
|||
|
|
|||
|
The next document opened into an outdoor scene with a large,
|
|||
|
weatherbeaten American flag as a backdrop. In the center of the
|
|||
|
stage stood a paunchy, mostly bald man in his early fifties who
|
|||
|
wore thick glasses and a checkered flannel shirt. To one side of
|
|||
|
him was a woman with a ruffled blouse and long tweed skirt; to the
|
|||
|
other side was a lean young man in jeans and cowboy boots. The
|
|||
|
image had a decidedly different quality than the simulation of his
|
|||
|
office or the previous documents. It seemed more real, photographic
|
|||
|
rather than cartoonish.
|
|||
|
"It seems so real," he said.
|
|||
|
"Enhanced three-dee vid image," Martha explained. "Very
|
|||
|
professional, but not interactive."
|
|||
|
"Mr. President," the bald man began, "let me just say how very
|
|||
|
pleased we all are to have you back in the White House. Yes!
|
|||
|
"In case our faces are not familiar, due to your long illness,
|
|||
|
let me just explain that my name is Clinton Oestrike, and these are
|
|||
|
my very good friends and associates, Henrietta Groote and Neal
|
|||
|
Severant. We represent the good, god-fearing people of America who
|
|||
|
voted to put you back in charge, Mr. President. We want to see
|
|||
|
America as it was, at the head of all nations, strong and proud. We
|
|||
|
want to go back to honest values and no longer was he so tied to
|
|||
|
the ground, so hard and heavy and hard work, and we want to get rid
|
|||
|
of the mushy, vagrant button-pushing bunch of wimps who have been
|
|||
|
mucking everything up for years.
|
|||
|
"We want to keep America strong, and we look to you, Mr.
|
|||
|
President, to bring us together be that strength. But just remember
|
|||
|
that we are here, Mr. President. If you need anything at all. If
|
|||
|
you need support or help in anything, just give us a call.
|
|||
|
"Thank you, Mr. President. Thanks for coming back."
|
|||
|
With a little snap, the enhanced vid was gone and Nixon found
|
|||
|
himself staring at the bright, pulsating wall of the simulated Oval
|
|||
|
Office.
|
|||
|
Martha drifted into his vision. "You got a nasty little break
|
|||
|
in that one."
|
|||
|
Nixon looked up to meet her simulated eyes. "Huh? A break?"
|
|||
|
"Yes, Dick. A break is when a random bit of information from
|
|||
|
another file somehow intrudes into a text. Right in the middle of
|
|||
|
old Clinton's rant, there was something that sounded like it came
|
|||
|
from something else, some random words. I thought for a second that
|
|||
|
Oestrike had really lost it, all the way, but it was just a break.
|
|||
|
They happen quite a lot, actually. They're one of the most
|
|||
|
persistent glitches in the cybernet, but I don't think anyone
|
|||
|
really knows how they happen. They're particularly nasty when
|
|||
|
you're working with math."
|
|||
|
"Hmmmm," said Nixon thoughtfully. "Hmmmm. It didn't make any
|
|||
|
sense, but I just could have sworn that his lips were moving to the
|
|||
|
words."
|
|||
|
"It's kind of disconcerting to see it in video," Martha said,
|
|||
|
"but it does happen. It's all very strange."
|
|||
|
12. RESPECTABLE REPUBLICAN CLOTH
|
|||
|
|
|||
|
"Anyway," Nixon said, "who were those people? They seemed
|
|||
|
good. Good, hardworking Americans."
|
|||
|
"The last of a breed," said the simulation of Martha. "Those
|
|||
|
are your real constituents, Mr. President. Those people love you."
|
|||
|
"I... I didn't know. After all these years... I'm quite moved.
|
|||
|
It's good to know that I have the support of the people."
|
|||
|
"Maybe," Martha said, "those people don't necessarily
|
|||
|
represent all the people."
|
|||
|
"But nevertheless," Nixon said with a slight smile, "they
|
|||
|
looked like good folks. Good Republican people. And they've been
|
|||
|
the only group so far to formally welcome me. Yes, I'm moved by
|
|||
|
these good folks!"
|
|||
|
For the first time, Nixon really did feel young again.
|
|||
|
"There are still a few more documents on the desk," the
|
|||
|
simulation of Martha said.
|
|||
|
"Yes, yes indeed. Shall we check out the next one?"
|
|||
|
13. A CONTINUITY OF BREAKS
|
|||
|
|
|||
|
Chaos. Shapes, buildings, stars, cars, punctuation, flames,
|
|||
|
rain, animals, compost, wind, universes, snatches of enhanced vid
|
|||
|
and symbols swirled in fractal paisley; there was a diffuse
|
|||
|
confusion of sounds and voices:
|
|||
|
"Like all the same little break the gates for a touchdown. He
|
|||
|
could take this train, if you need support, generic young single
|
|||
|
post on. I'm leaving, huh? Yes, this just expanded room BRING small
|
|||
|
Hiss the starry the anywhere. Math very easy anywhere. A burst into
|
|||
|
the big a could figure. Don't just really seemed way post on at
|
|||
|
there was something.
|
|||
|
"A break is when occupied. Keep our government particularly
|
|||
|
empty. Light on all it particularly person easy. Lost stylized a
|
|||
|
sort of California night, sworn were keep our government occupied.
|
|||
|
"But the water was US rushing through it. Nixon stylized a
|
|||
|
sort of were was somewhere view. A crusade a they're lot Hmmm in
|
|||
|
the sworn shred sworn Martha.
|
|||
|
"Dick it came a all the same. Could appeared the don't help
|
|||
|
sense light like such a solution. Neither twisted with really
|
|||
|
happen no flow they was somewhere TOGETHER. First moving that in
|
|||
|
control. The think he was going all feeling proud and from the
|
|||
|
black smoke pouting lips.
|
|||
|
"This to you now the what was somewhere I said? Nixon Judeo-
|
|||
|
christian it. I any I by a have the forehead withering thing. Very
|
|||
|
starry night if you need anything. Little break longer, strange
|
|||
|
expanded again. At post on for a touchdown, Nixon. Black smoke all
|
|||
|
the same. Out on a shred words just occupied that Dick. Was at the
|
|||
|
helm he could take this train teapot dome Dick's mother the
|
|||
|
communist bastards occupied to lips. Post on."
|
|||
|
14. MARTHA'S FRIENDS
|
|||
|
|
|||
|
"I've got some friends who would love to see that document,"
|
|||
|
Martha said. "May I show it to them?"
|
|||
|
"O.K., I, uh, what the hell."
|
|||
|
"This may be a record for the number of breaks in a single
|
|||
|
document. I've never even heard of anything like this."
|
|||
|
"Some of it," Nixon said, "some of it seemed to make sense. Or
|
|||
|
to be familiar in some way..."
|
|||
|
"Well, maybe," said the simulation of Martha. "But also
|
|||
|
consider that your mind tends to find meaning for ambiguity. Like
|
|||
|
the inkblot tests that psychologists used to use."
|
|||
|
"Damn psychologists," Nixon grumbled.
|
|||
|
"Anyway," she continued, "I've got some friends who study this
|
|||
|
kind of thing. Actually, they're friends of the real Martha. They
|
|||
|
want to know if there is any meaning in it, and what causes the
|
|||
|
breaks."
|
|||
|
"Are they psychologists?" Nixon asked suspiciously.
|
|||
|
"No, not really. Obviously, they must use some concepts which
|
|||
|
are at least similar to psychology, but they really aren't
|
|||
|
psychologists. Cyberneticists, in a way."
|
|||
|
"Have they discovered anything? Anything useful? Is it
|
|||
|
sabotage?"
|
|||
|
"They don't know yet. What they have found is that the breaks
|
|||
|
seem to be increasing in frequency. This document may help to
|
|||
|
confirm that. Also, they have found strong parallels between
|
|||
|
cybernetic breaks and some of the processes of the human mind. One
|
|||
|
theory suggests that breaks are a sign that the cybernet is
|
|||
|
attempting to become self-aware. Another popular theory is that
|
|||
|
it's a kind of cybernetic cancer, some program or computer virus
|
|||
|
which mutated along the way."
|
|||
|
"I don't understand," Nixon said. "But then I haven't
|
|||
|
understood much of anything since I regained consciousness. But I
|
|||
|
will understand, Martha. I promise you that. I promise the citizens
|
|||
|
of the United States that I will get to the bottom of what's going
|
|||
|
on! Do these breaks reduce our productivity as a nation?"
|
|||
|
"I suppose they must," the attractive simulation said. "As a
|
|||
|
nation? I never thought of it like that. I suppose they must."
|
|||
|
"Then we'll appoint a commission to look into this," Nixon
|
|||
|
said, feeling, for a moment, like he was in control. "If some damn
|
|||
|
fringe group is messing with our productivity, this must be halted.
|
|||
|
Your friends sound like they're experts on this crisis. Could they
|
|||
|
be convinced to serve on the commission?"
|
|||
|
"I don't know," the simulation said. "But I will certainly
|
|||
|
relay the suggestion to the real-time Martha when I make my report
|
|||
|
and pass along that document."
|
|||
|
"Martha," Nixon said, "you're a good American."
|
|||
|
15. BRIEFING
|
|||
|
|
|||
|
The next document took the form of an executive conference
|
|||
|
room with representations of a long wooden table, big swiveling
|
|||
|
chairs and a small side table with a coffee pot. On the walls were
|
|||
|
portraits, cartoon-like caricatures of past presidents and famous
|
|||
|
Americans.
|
|||
|
Seated at the table were the representations of two men in
|
|||
|
military uniform. One was large, hawk-faced, erect and huge of
|
|||
|
chest. The other was smaller, but tough-looking. Insignia showed
|
|||
|
the larger to be a general, the smaller, a major.
|
|||
|
"This is much better," Nixon said. "Much better."
|
|||
|
"Possibly," said Martha. "Possibly."
|
|||
|
"At any rate," Nixon clarified, "it seems to make a little
|
|||
|
more sense."
|
|||
|
"Welcome, Mr. President," said the General. "I am a simulation
|
|||
|
of General Harold Havoc, commander-in-chief in your absence, sir.
|
|||
|
This is a representation of Major Dennis Disaster, in charge of the
|
|||
|
National Security Council. This briefing is pre-recorded and
|
|||
|
interactive. Feel free to ask questions at any time. Major?"
|
|||
|
The short man stood, his green uniform falling in sharp
|
|||
|
cartoon lines from his small, simulated body. "Mr. President, the
|
|||
|
United States of America is in the midst of a very serious crisis,
|
|||
|
perhaps the worst that we have ever faced."
|
|||
|
"The breaks?" Nixon asked. "The thing about the breaks and our
|
|||
|
decline in productivity? I am familiar with..."
|
|||
|
"No, sir." said the Major. "I am addressing our decline in
|
|||
|
productivity, but that is only a small part of it. What I want to
|
|||
|
describe is much more sweeping than that.
|
|||
|
"I would like to begin by reviewing some of the events of the
|
|||
|
recent past, Mr. President, which are perhaps at the root of this
|
|||
|
situation."
|
|||
|
"Oh, yes, Major," Nixon said. "Please. This is exactly the
|
|||
|
kind of briefing that I had hoped for."
|
|||
|
"When the cancer plague wiped out all the politicians in the
|
|||
|
first part of the nineteen-nineties," Major Disaster began, "it was
|
|||
|
also destroying everything that America had worked to build for
|
|||
|
over two hundred years. The constitution meant nothing without a
|
|||
|
government. We still had a police force, for a while, and the laws
|
|||
|
were still enforced. But then came the outside interlopers who
|
|||
|
finished off any semblance of order. I think you may know who I
|
|||
|
mean."
|
|||
|
"Interlopers?" Nixon asked. "The United States of America was
|
|||
|
invaded? What happened to the military? Who the hell was it? Some
|
|||
|
damned fringe...."
|
|||
|
"Well, it wasn't so much an invasion as a mass defection,"
|
|||
|
General Havoc interjected. "Sorry, Major, continue."
|
|||
|
"Yes, sir. The invaders, so to speak, were Americans who left
|
|||
|
the country, deserting their fellow countrymen. Then they returned
|
|||
|
to loot and pillage the remnants of our economy."
|
|||
|
"Where did they defect to, Major?" Nixon asked. "Some third-
|
|||
|
world..."
|
|||
|
"Well, sir, it wasn't any particular country that they went
|
|||
|
to... They, uh, just left."
|
|||
|
"They went into space, Dick," the simulation of Martha added.
|
|||
|
"A lot of people moved into space. It was easy and it helped the
|
|||
|
economy. It probably saved the planet."
|
|||
|
"That's what the damned deserters say, anyway," the simulation
|
|||
|
of General Havoc said. "That was the popular idea. 'America: Love
|
|||
|
it and Leave it.' "
|
|||
|
"You see, sir," the Major continued, "there were two
|
|||
|
inventions in the last decade which should have been strictly
|
|||
|
controlled, except that there was no government to control them.
|
|||
|
I'm talking about O.Z. and the Spin Drive."
|
|||
|
"I'm familiar with O.Z.," the president said. "What is the
|
|||
|
Spin Drive?"
|
|||
|
"The space drive," said the Major. "Cheap and accessible
|
|||
|
transportation into outer space. For everyone. Damned freak gave it
|
|||
|
to the whole world."
|
|||
|
"Damned freak?" asked the president. "Damned freaks."
|
|||
|
"Nicholas Palmer. Yeah. Nicholas Palmer. The guy invented the
|
|||
|
damned thing in his garage. No funding. He built it out of a pile
|
|||
|
of junk for about five hundred dollars. Then he sold the plans in
|
|||
|
the back of magazines. He ran ads in Popular Mechanics, Mondo 2000,
|
|||
|
Fantasy and Science Fiction. 'Turn your car into a spaceship.
|
|||
|
Guaranteed. Plans $25.' And some people actually must have bought
|
|||
|
the plans and built the damned things, because the next thing you
|
|||
|
know there are people flying everywhere in goddamned Winnebagos."
|
|||
|
The major began to gesticulate wildly. "Look out! Oldsmobile at
|
|||
|
twelve o'clock! VRRRRRRRRRM WHOOOOOOOSH! Look out! A goddamn bus!"
|
|||
|
"Uh, thank you, Major," said the General. "Allow me to
|
|||
|
continue, Mr. President. There was nothing that we could do. Even
|
|||
|
our fastest interceptors couldn't catch a spaceship. Even a Ford
|
|||
|
spaceship. They fly too high, too fast. They can change directions
|
|||
|
too quickly."
|
|||
|
"Can't we build them ourselves?" Nixon asked. "Why isn't the
|
|||
|
military equipped with these devices?"
|
|||
|
"Well, sir," the General said, "first there is the budgetary
|
|||
|
problem, and second of all, officially the Spin Drive doesn't
|
|||
|
work."
|
|||
|
"What?" Nixon rubbed his forehead. "I don't understand. What
|
|||
|
do you mean, officially it doesn't work? That has been our policy?"
|
|||
|
"That damned freak!" the Major jumped in. "He was working
|
|||
|
without any government sanction whatsoever. Furthermore, he had no
|
|||
|
degrees, well, maybe a B.A. He wasn't a scientist, he was a
|
|||
|
journalist. How does he think he can invent..."
|
|||
|
"Thank you, Major," the General interrupted. "Also, Mr.
|
|||
|
President, we don't have any money. We need some money. If you
|
|||
|
could just get the I.R.S. going again..."
|
|||
|
"I think he's a drug fiend, too," the Major exclaimed. "I
|
|||
|
think Palmer is a goddamned potsmoking acidhead liberal fringe
|
|||
|
goddamn weirdo! I think..."
|
|||
|
"Thank you! Major!" barked the General. "If only people would
|
|||
|
start paying taxes again, Mr. President, even just the people on
|
|||
|
Earth, we could build a few of these things. We could convert our
|
|||
|
tank force..."
|
|||
|
"It's a plot!" screamed the Major. "It's a plot by the goddamn
|
|||
|
freako new age ecstasy-eating assholes to destroy the traditions of
|
|||
|
our society! These are anarchists, Mr. President! These are bomb-
|
|||
|
throwing, Plymouth-flying, asshole..."
|
|||
|
"THANK! YOU! MAJOR!" the General howled. "Please, sir, if
|
|||
|
you've got a couple of hundred you could lend us, I think we
|
|||
|
could..."
|
|||
|
"Thank you, Gentlemen," Nixon said. "I think I get it, now.
|
|||
|
Yes, I get the point. Believe me, gentlemen, I will certainly look
|
|||
|
into this matter. I want America to be strong, just as much as you
|
|||
|
do. It looks like we're going to have to start from scratch here.
|
|||
|
We must rebuild America. We must enlist the aid of every loyal
|
|||
|
American. We will have a real Republic again!"
|
|||
|
He turned to Martha. "Do you see, Martha, why we must have
|
|||
|
government? A good government is the only thing that can prevent
|
|||
|
this kind of chaos!"
|
|||
|
16. THE MEDIA
|
|||
|
|
|||
|
A single document remained on the simulation of the Oval
|
|||
|
Office desk. Nixon gave Martha a charming grin, then focused on the
|
|||
|
document. They were immediately enveloped by a very tasteful,
|
|||
|
pastel-colored room, captured in enhanced vid. In front of them,
|
|||
|
behind an elegant curving desk, was a handsome man in his early
|
|||
|
forties. Nixon instantly knew what this was: the set for a news
|
|||
|
show.
|
|||
|
"Good afternoon, Mr. President," the man said. "I'm Mark
|
|||
|
O'Connor and this is the evening news. We're not on the air right
|
|||
|
now, of course. This is for your ears and eyes only.
|
|||
|
"First, we would like to welcome you back to the land of the
|
|||
|
living, so to speak, heh heh. Uh, well then, what the fuck, we'd
|
|||
|
like to have you on our evening program, Mr. President. There are
|
|||
|
some burning questions which must be answered, and our audience
|
|||
|
wants to know.
|
|||
|
"It will also give you an opportunity to address your
|
|||
|
constituents. We hope you'll join us. If you will, just ask the
|
|||
|
cybernet for me, Mark O'Connor. Thank you, Mr. President."
|
|||
|
17. END RUN
|
|||
|
|
|||
|
With a snap they were back in the office simulation again,
|
|||
|
Nixon in the big chair, Martha smiling at him from across the desk.
|
|||
|
"Well," said Martha, "that seems to be the last of the current
|
|||
|
documents. Want to call it a day? This must be a lot to handle,
|
|||
|
your first time in the cybernet."
|
|||
|
"Yes," Nixon said, "but..."
|
|||
|
"Yes, Dick?"
|
|||
|
"Uh, when will I see you again, Martha? I... I must say that
|
|||
|
I, uh, like you very much. Can we meet some day, in the flesh, that
|
|||
|
is, maybe have some dinner..."
|
|||
|
"Please remember, Dick, that I am only a simulation of Martha.
|
|||
|
Perhaps tomorrow or sometime soon you can meet the real Martha,
|
|||
|
here in the cybernet. I'm sure she will like you just as much as I
|
|||
|
do."
|
|||
|
"Uh, Martha?"
|
|||
|
"Yes?"
|
|||
|
"How do I get back to the real world?"
|
|||
|
"End Run," the simulation of Martha said.
|
|||
|
18. THE REAL WORLD
|
|||
|
|
|||
|
"End Run," said Nixon. "I like that."
|
|||
|
And suddenly the world was no longer vibrating. It was quiet
|
|||
|
and dark. Nixon's body felt heavy in the office chair. He smelled
|
|||
|
wood and plaster and carpet and... something else...
|
|||
|
He removed the headset. The room looked oddly flat, somehow
|
|||
|
irregular and...
|
|||
|
Nurse Bounty was seated in an armchair near the door.
|
|||
|
The nurse looked up at Nixon. He saw that she was not in
|
|||
|
uniform. She wore a short dress of some blue material which clung
|
|||
|
to her body. The president had a moment of confusion: for a single
|
|||
|
second he thought that Nurse Bounty was Martha. He wanted to call
|
|||
|
to her, to call her Martha.
|
|||
|
"Hi, Mr. President," Bounty said.
|
|||
|
What's wrong with me, Nixon thought. She's nothing like
|
|||
|
Martha. All the goodness in Martha. This one is just a sort of
|
|||
|
wild, empty-headed sexpot.
|
|||
|
The blood in a few of Nixon's key arteries began to flow
|
|||
|
toward his groin.
|
|||
|
"Hello, Nurse," he said. "What can I do for you today?"
|
|||
|
"I'm going off-duty," the nurse said. "You're going to be on
|
|||
|
your own tonight, for the first time. I just wanted to make sure
|
|||
|
you know how to reach me, if you need to." She stood and walked to
|
|||
|
the desk. "Here are the access codes. The first is a general help
|
|||
|
code. Just tell your deck to begin, then say the code. You don't
|
|||
|
even have to put on the headset <20> we'll find you." She showed him
|
|||
|
a slip of paper. "That code is just for emergencies. The other code
|
|||
|
is my personal code and, um, that doesn't have to be an emergency.
|
|||
|
Give me a call whenever you'd like."
|
|||
|
"Thank you, Nurse. I, uh, I certainly will. I..."
|
|||
|
She came around the desk, to his side. Nixon's heart, entirely
|
|||
|
beyond his conscious control, began to pound wildly. He could feel
|
|||
|
the warmth of her body, could hear the gentleness of her breath.
|
|||
|
Her hair glowed like a halo around her head.
|
|||
|
"Oh, also, here's the key to the front door. In case you want
|
|||
|
to lock yourself in." She smiled at him, waiting for a response.
|
|||
|
"O.K., then," she said. "Later next time bye!" She leaned over
|
|||
|
his shoulder, stuffed the slip of paper and the key into his jacket
|
|||
|
pocket and gave him a kiss on the cheek; it was brief, warm, and
|
|||
|
only slightly moist. With a smile, she strolled across the oval
|
|||
|
expanse of floor and out the door.
|
|||
|
"Oh, damn," Nixon said. "Hmmph!"
|
|||
|
19. A WALK
|
|||
|
|
|||
|
He sat for several minutes, sweating, his heart racing. This
|
|||
|
felt so familiar, a feeling from a long time ago. Was it love?
|
|||
|
Repulsion? Lust? Hormones? Nixon was confused. He'd only known
|
|||
|
Martha for a very short time, but he liked her. Really liked her.
|
|||
|
He didn't even know what she really looked like, but the simulation
|
|||
|
was so very nice. At the same time, there was something about Nurse
|
|||
|
Bounty. In spite of her trashiness, her wanton sleaziness, her
|
|||
|
smooth and firmly muscled legs... He felt a little sick.
|
|||
|
He tried to think about ugly communist leaders, but the image
|
|||
|
of Brezhnev that formed in his head had enormous breasts. Mao had
|
|||
|
a sleek and curvaceous pelvis. It was getting very difficult to
|
|||
|
breath.
|
|||
|
Fresh air, Nixon thought. I've got to get outside, go for a
|
|||
|
walk.
|
|||
|
He pushed back the big chair and stood. He went out into the
|
|||
|
hallway.
|
|||
|
Nixon wandered through the halls, down the stairs, into the
|
|||
|
front lobby. It was all quiet and empty. The floors had been swept,
|
|||
|
but a thick layer of dust covered many of the fixtures, ornaments
|
|||
|
and art objects.
|
|||
|
Disgraceful, he thought. The White House had never been this
|
|||
|
dirty.
|
|||
|
The big front door creaked open and Nixon stepped out onto the
|
|||
|
front steps. The sky was bright blue, a few puffy clouds sailing
|
|||
|
across it. A cool breeze tussled his hair. It felt strange and he
|
|||
|
reached up to stroke his head. A fine growth, sort of a junior
|
|||
|
crew-cut, covered his entire scalp. It covered everything, even the
|
|||
|
parts that had been bald for several decades. The places where his
|
|||
|
hair had always grown was now a crest, an unkempt brush in the
|
|||
|
middle of all that fuzz.
|
|||
|
He filled his lungs with the cool air. It felt good.
|
|||
|
The first pale green flush of spring was beginning to show in
|
|||
|
the White House lawn, just visible through brown weeds and fallen
|
|||
|
leaves from seasons past. There was very little human litter, only
|
|||
|
natural disorder. Out across the lawn and the Ellipse, the
|
|||
|
Washington Monument gleamed in the sun. It was quiet except for
|
|||
|
wind and birdsong.
|
|||
|
He let the door swing closed, locked it behind him, and
|
|||
|
started down the steps. His legs felt strange, alien but strong.
|
|||
|
He started through the weeds in the direction of the monument.
|
|||
|
Sun and leaves dancing in the wind made him feel suddenly free.
|
|||
|
I'm loose and young and ready for anything, Nixon thought. I'm
|
|||
|
loose. I can do whatever I want. Somehow, I've been given a second
|
|||
|
chance. All the mistakes that I made, the first time... It may be
|
|||
|
more difficult this time; there doesn't seem too much to work with,
|
|||
|
but I'm going to play. I'm going to play to win! I'll get it right
|
|||
|
this time. It's up to me to bring America back.
|
|||
|
He crossed Pennsylvania Avenue, pausing to look at the
|
|||
|
neglected pavement, dead weeds poking up through a multitude of
|
|||
|
cracks. He looked both ways; there was no traffic, no cars, not
|
|||
|
even parked. The wind chased a few fallen leaves through the brown
|
|||
|
and withered weeds.
|
|||
|
He wandered around the Ellipse, enjoying the solitude. A plan
|
|||
|
was forming in his mind. The fact that there was so little left of
|
|||
|
the government might actually make it easier, he thought. At first,
|
|||
|
at least, power could be concentrated in the executive office. He
|
|||
|
could implement his ideas, his policies, with no resistance.
|
|||
|
Later on, he thought, I can re-form Congress. Later on, I will
|
|||
|
restore the checks and balances. After we get things back to some
|
|||
|
kind of order. I'll be remembered a long time for this. Perhaps
|
|||
|
then history will finally forget Watergate. Finally.
|
|||
|
As he crossed Constitution Avenue, he heard voices. He looked
|
|||
|
up and saw a small crowd gathered partway across the scruffy field,
|
|||
|
about ten people near a wheeled cart on which stood two large metal
|
|||
|
barrels.
|
|||
|
Bums, he thought at first, seeing their rumpled, worn
|
|||
|
clothing, but then he saw that they were all relatively clean,
|
|||
|
looked fairly well-fed and carried themselves with a sense of
|
|||
|
purpose, as if serious business were at hand. He approached close
|
|||
|
enough to hear.
|
|||
|
"Three bills," said a tall, blond man who was pouring some
|
|||
|
kind of fluid from one of the barrels into a plastic water jug.
|
|||
|
Grumbling, a middle-aged woman exchanged money for the filled
|
|||
|
jug.
|
|||
|
"Sorry folks," the blond man said. "That was the last jug. A
|
|||
|
couple days, should have more. Sorry folks."
|
|||
|
"Hey," a fat, bald man yelled, "I gotta have three jugs.
|
|||
|
That's all I need. Come on!"
|
|||
|
"Sorry folks, no more gas. Barrels empty. Sorry." The blond
|
|||
|
man began to push his cart through the small group. "Sorry! Come
|
|||
|
back a couple days."
|
|||
|
"Damn spacers!" growled a brown-skinned woman. "It's their
|
|||
|
fault. Holding it back, jacking up the prices. I ain't paying no
|
|||
|
five bucks a jug from no spacer!"
|
|||
|
The fat, bald man accosted the middle-aged woman with the jug.
|
|||
|
"Six bills!" he said. "I'll give you six bills for that jug!"
|
|||
|
"Piss off," she said, pushing her way past the others. She
|
|||
|
started across the field, toward Constitution Avenue, the man with
|
|||
|
the cart not far behind. The rest of the group swarmed around them
|
|||
|
like bees about a mobile hive.
|
|||
|
The woman pushed past Nixon. The cart bore down on him.
|
|||
|
"Sorry folks!" the blond man said, by way of warning. "Come
|
|||
|
back a couple days!"
|
|||
|
Nixon dodged back, out of the way, but collided with the fat,
|
|||
|
bald man. The fat man pushed him off with a snarl and he fell into
|
|||
|
the brown-skinned woman.
|
|||
|
"Motherfucker!" she exclaimed. "Get the hell off me! What the
|
|||
|
hell do you..." She stared at Nixon, sizing him up from head to
|
|||
|
toe.
|
|||
|
"I'm terribly sorry, Ma'am," Nixon said, looking down. "My
|
|||
|
fault entirely. Are you all right?"
|
|||
|
"You look like a goddamn spacer," the woman said.
|
|||
|
"No, Ma'am, I'm..."
|
|||
|
"Hey," the woman said to the fat, bald man, "don't this guy
|
|||
|
here look like a spacer?"
|
|||
|
"Spacer!" the fat man howled, advancing on Nixon. "You gonna
|
|||
|
give us some more gas or what? You got it in your truck? Go get us
|
|||
|
some gas!"
|
|||
|
Others gathered around. The man with the cart stopped to
|
|||
|
watch. The woman with the full jug broke into a jog and disappeared
|
|||
|
into the trees on the other side of the avenue.
|
|||
|
"Where'd you get that hair?" asked an old man with a briar
|
|||
|
pipe. "Heh, heh."
|
|||
|
Nixon self-consciously felt his head.
|
|||
|
"And those clothes," said someone else.
|
|||
|
Nixon looked down at himself. His suit, a bit loose on his
|
|||
|
new, thin frame, was brown, some kind of textured fabric.
|
|||
|
Conservative, a bit bland.
|
|||
|
I've never much liked brown suits, he thought, but it's
|
|||
|
presentable at least. Dr. Siva's staff was kind to have provided
|
|||
|
it.
|
|||
|
"Give me good old polyester any day of the week," said a young
|
|||
|
man in an ancient, worn, double-breasted blue suit.
|
|||
|
The old man moved in real close to Nixon, the pungent tobacco
|
|||
|
smoke filling the president's nostrils.
|
|||
|
"What the hell are you doing around here, boy?" the old man
|
|||
|
said.
|
|||
|
"I am President of the United States."
|
|||
|
"Heh, heh. An' I'm the Princess Leiea. You know, we don't have
|
|||
|
much reason to like spacers, around here."
|
|||
|
"I'm not a spacer. I'm Richard Milhous Nixon. I am the
|
|||
|
President of the United States. I've never been in space."
|
|||
|
"Nixon?" asked a young woman. "Wasn't it Reagan that we
|
|||
|
elected? I thought it was Reagan."
|
|||
|
"Reagan's dead," the brown woman said. "We elected Nixon, but
|
|||
|
he's some old geezer with a tube coming out of his nose. I saw it
|
|||
|
on vid. This one here is a spacer and I don't like it."
|
|||
|
"No, really," Nixon tried, "I'm Dick Nixon. They gave me O.Z.
|
|||
|
I got young again. I'm the president!"
|
|||
|
The brown-skinned woman came up, shoulder to shoulder with the
|
|||
|
pipe-smoking old man. Others began to gather around closer.
|
|||
|
"Only spacers take O.Z.," said the old man.
|
|||
|
"Let's get 'im," the brown-skinned woman said.
|
|||
|
They closed in.
|
|||
|
Nixon looked around, took a deep breath, then bolted. He broke
|
|||
|
through their line and ran an evasive course across the field.
|
|||
|
Several of the group started after him.
|
|||
|
He darted around a cluster of bushes and then out onto
|
|||
|
Constitution Avenue. He turned left and ran with everything he had.
|
|||
|
Surprise gave him a bit of a lead, but although regenerated, his
|
|||
|
body still had little useful muscle. His legs ached, he gasped
|
|||
|
painfully for breath. They were gaining on him. A loud wind
|
|||
|
whooshed overhead. He ran on.
|
|||
|
Near 17th Street he felt as if his lungs and legs could do no
|
|||
|
more. He slowed to a stumbling walk, wheezing, his head spinning.
|
|||
|
They were right behind him and he could do nothing.
|
|||
|
I've failed, he thought.
|
|||
|
A yellow door opened in front of him.
|
|||
|
20. PRIMORDIAL STU
|
|||
|
|
|||
|
Stu was just relaxing, puffing sporadically on a pipe and
|
|||
|
enjoying the electric, cheery glow that the spin drive imparted to
|
|||
|
everything within its field. The drifting gray strands of ganja
|
|||
|
smoke seemed to sparkle with blue and white highlights as they
|
|||
|
swirled and wandered into the air recirculation stream. The ancient
|
|||
|
Macintosh computer bolted to the dashboard of the converted school
|
|||
|
bus cast a hypnotically flashing pattern of colored light and
|
|||
|
shadow through the smoke, washing over the placid faces of Stu's
|
|||
|
friends.
|
|||
|
As they dived deeper into Earth's gravitational field, the
|
|||
|
frequency of the spin drive was gradually increasing, and the sense
|
|||
|
of relaxation would fade. Stu wanted to enjoy it while he could;
|
|||
|
Earth was such a nervous, heavy, hectic place.
|
|||
|
Stu leaned forward and scratched an itchy spot on his left leg
|
|||
|
just above the top of his boot. Then he sat up straight, slid
|
|||
|
forward as much as his tether would allow, and tapped a key on the
|
|||
|
old computer. The image of the swirling lines shrank to a two-inch
|
|||
|
square in a lower corner. The rest of the screen filled with words:
|
|||
|
Engage in waiting but luck through it. A false
|
|||
|
premise faithful to it is beneficial. True will
|
|||
|
wait for him. Thou be waiting, withering thing do
|
|||
|
what only if correct. Fidelity though he knows you
|
|||
|
not, though he fears you. To waiting on the
|
|||
|
outskirts who is key fool. Help him wilt this
|
|||
|
warfare. I will acquired conditioning. Someone will
|
|||
|
be in danger. He will be loyal. Employ constancy.
|
|||
|
You will.
|
|||
|
Stu silently studied the words, rubbing a hand across his
|
|||
|
closely-cropped hair, down the back of his head, to tug
|
|||
|
lightly on the short braid.
|
|||
|
Hmmmm, he thought, hmmm. An opaque oracle. How to get my
|
|||
|
mind around this one? Someone is waiting... I must wait.
|
|||
|
That's right, him, a male. He fears me? He is loyal. To me?
|
|||
|
Damn. Can't tell if some of this is a break. Even if the Mac
|
|||
|
isn't connected to the cybernet.
|
|||
|
Stu broke a little bit off a nearby bale of hemp and
|
|||
|
packed it into his pipe on top of the glowing ember. He drew
|
|||
|
a deep breath of fresh smoke into his lungs and held it in,
|
|||
|
held it inside to mingle with the words he had just read and
|
|||
|
help to bind them to some brain cells. A long moment,
|
|||
|
centering his consciousness like an egg within his heart, then
|
|||
|
he exhaled.
|
|||
|
To wait, Stu thought, implies that some task be
|
|||
|
postponed, some destination delayed. The only destination is
|
|||
|
completion of the mission of the moment. We will wait. Arc93
|
|||
|
can also wait a little. Sometimes the meaning of an oracle can
|
|||
|
come only with time.
|
|||
|
Stu tapped a key on the Mac and switched the converted
|
|||
|
school bus to manual control. He grabbed the wheel, depressed
|
|||
|
the former clutch pedal with one foot and rested the other
|
|||
|
foot lightly on the accelerator. The bus shot upwards for a
|
|||
|
moment. Stu let up on the clutch pedal and their descent
|
|||
|
resumed.
|
|||
|
The frequency of the spin drive continued to increase as
|
|||
|
it resisted the gravity of the planet. The crew began to
|
|||
|
fidget in their seats.
|
|||
|
"Are we going right in to the arc?" Diana asked. She was
|
|||
|
tethered to the big couch-like seat along the wall behind Stu.
|
|||
|
She stretched, twisting her spine and getting a vertebra to
|
|||
|
emit a loud pop. "Whew," she said.
|
|||
|
"We're going to wait, I think," said Stu. "We can give it
|
|||
|
a few minutes before we get to Arc93."
|
|||
|
"What does the oracle say?" asked Alec, barely visible
|
|||
|
among the bales of cargo. "What are we waiting for?"
|
|||
|
"An opaque oracle," said Stu. "I don't know. We'll wait
|
|||
|
and see."
|
|||
|
"Fine with me," said Diana. "I could use a little time to
|
|||
|
get used to the gravity."
|
|||
|
There was general agreement from the back of the bus.
|
|||
|
The bus was capable of vertical take-off and landing, but
|
|||
|
unless it was absolutely necessary, Stu preferred a gradual
|
|||
|
approach. He swooped the big yellow craft in over the National
|
|||
|
Mall, veering to the right to avoid the Washington Monument.
|
|||
|
They whooshed low over the heads of some people out on
|
|||
|
Constitution Avenue, then lightly touched down near the
|
|||
|
intersection of Constitution and 17th.
|
|||
|
"Okay," said Primordial Stu, "we'll wait."
|
|||
|
21. THE WAIT
|
|||
|
|
|||
|
As they sat there, the herb that Stu had smoked really
|
|||
|
began to come on strong. He looked thoughtfully at the big
|
|||
|
ceramic pipe and smiled vaguely. A thin wisp of smoke still
|
|||
|
trailed from the bowl. He stowed the pipe in a small cubbyhole
|
|||
|
beneath his seat.
|
|||
|
The screen displayed the spin drive indicator, the lines
|
|||
|
of force vibrating very rapidly now, flickering, but faint as
|
|||
|
the drive idled. Primordial Stu, however, felt like he was
|
|||
|
glowing pretty brightly. He closed his eyes and let the video
|
|||
|
flicker play across him.
|
|||
|
Stu appreciated the sense of harmony, of unity with the
|
|||
|
flow and play of the universe, which use of the oracle
|
|||
|
developed. He basked in the radiant glow of the lives around
|
|||
|
him, the feel of gravity on his body, the gentle hush of the
|
|||
|
recirculation system.
|
|||
|
A new lyric came to him then, dissolving into existence
|
|||
|
fully formed from beyond the veil of consciousness. He saw the
|
|||
|
words, written in light, inside his closed lids. A hint of the
|
|||
|
melody came with it.
|
|||
|
|
|||
|
Sunlight, planets, trucks and cars
|
|||
|
The dust which swirls between the stars
|
|||
|
My hands, my feet, my oxygen
|
|||
|
To you, to you, I dance again
|
|||
|
|
|||
|
I dance fractal chaos life
|
|||
|
To the universe, my wife
|
|||
|
|
|||
|
Moonrocks, earthlight, essence, Mars
|
|||
|
The night which waits between the stars
|
|||
|
My head, my heart, I am a man
|
|||
|
To you, to you, I dance again
|
|||
|
|
|||
|
Come dance fractal chaos life
|
|||
|
To the universe, my wife
|
|||
|
|
|||
|
"Hey," Diana called. "Someone's coming."
|
|||
|
22. GUESS WHO
|
|||
|
|
|||
|
Stu opened his eyes. Everything seemed bright, glowing,
|
|||
|
but with a different kind of glow than the spin drive
|
|||
|
produced. It was the glow, Stu thought, of awareness of
|
|||
|
harmony. It was the kind of light which, he believed, all
|
|||
|
things always basked in, but that we were usually too busy to
|
|||
|
notice. Stu was stoned.
|
|||
|
Someone was running toward them, along Constitution
|
|||
|
Avenue. A man, apparent age in the late twenties, hair close-
|
|||
|
cropped but textured, simply attired, was running desperately
|
|||
|
toward the bus. Not far behind him were six or seven old-earth
|
|||
|
types, exuding the righteous glee of the lynch mob. The old-
|
|||
|
earthers were a heartier bunch, in general, than the frail man
|
|||
|
that they chased. They were gaining. Stu tapped the keyboard,
|
|||
|
setting parameters for a quick exit.
|
|||
|
Just as he approached the bus, the man slowed to a halt.
|
|||
|
He stood, gasping for breath, his knees shaking.
|
|||
|
Stu unsealed the inner airlock and pulled open the
|
|||
|
sliding door of the old yellow school bus. He unsnapped his
|
|||
|
tether, jumped down the steps, and grabbed the man by the
|
|||
|
collar of his hemp-cloth jacket, hauling him onto the bus. Stu
|
|||
|
hit a key; the ambient buzz of the spin drive swelled and the
|
|||
|
bus swooped up and away.
|
|||
|
23. DISCORD
|
|||
|
|
|||
|
Stu helped the man into a seat, snapping the tether
|
|||
|
around the man's middle. He sank back into the control chair,
|
|||
|
checked the readout and looked out the window. The ground was
|
|||
|
dropping away rapidly, the spidery print of D.C. shrinking to
|
|||
|
a point.
|
|||
|
Stu swiveled around to face the passenger compartment.
|
|||
|
The man was still hyperventilating. His faced was pale and
|
|||
|
beaded with sweat.
|
|||
|
"Are you all right?" Diana asked.
|
|||
|
The man gestured, but did not speak.
|
|||
|
"Why were they chasing you?" asked Stu.
|
|||
|
"I..." the man said. "I mean, they... They chased me.
|
|||
|
Attacked me without provocation."
|
|||
|
"How come?" Stu asked.
|
|||
|
"I don't claim to, uh, fully understand this," the man
|
|||
|
said, "but I believe that they mistook me for a spacer."
|
|||
|
"Buncha idiots," said someone from the back of the bus.
|
|||
|
"And you're not a spacer?" Stu asked. The man, Stu noted,
|
|||
|
really looked like a spacer. He had signs of O.Z.
|
|||
|
regeneration, his hair was functionally short, and his suit,
|
|||
|
though unassuming, was of unbleached hemp fiber. He seemed a
|
|||
|
bit more nervous than your average spacer, although that could
|
|||
|
easily have resulted from the attack.
|
|||
|
"No," the man said. "I am President of the United
|
|||
|
States."
|
|||
|
"You're Nixon?!" Diana asked. "I don't believe it."
|
|||
|
"And you," Nixon said, "must be spacers."
|
|||
|
Stu gestured at the window. "Take a look." As Nixon
|
|||
|
turned away, Stu tapped a command into the Mac.
|
|||
|
Nixon saw a wide curve of blue and white planet, sweeping
|
|||
|
away to blackest night. He remembered the old photographs from
|
|||
|
the NASA missions. It was beautiful but...
|
|||
|
Vertigo.
|
|||
|
"Whoa," said Stu, "don't get spacesick on us. Okay. We
|
|||
|
believe you're not a spacer. Just take a deep breath. Easy.
|
|||
|
That's right."
|
|||
|
"Spacers," Nixon swore. Something deep inside him made a
|
|||
|
gurgling sound.
|
|||
|
"What about it?" asked Tim, who was seated in the front
|
|||
|
compartment, near Diana. "Do we not bleed? Do we not
|
|||
|
experience similar perceptions? Maybe? Can we not all digest
|
|||
|
the same food?"
|
|||
|
Alec crawled forward through the cargo, hitching his
|
|||
|
tether to a clip on the floor. Behind him appeared the face of
|
|||
|
a black woman, long dreadlocks tied up in a mass. "Nah," Alec
|
|||
|
said, "I can't eat any of that old-earth crap. What was it
|
|||
|
that Marcia brought us that time?"
|
|||
|
"A Big Mac," said the black woman. "MacDonald's."
|
|||
|
"Yeah, right. Yech." Alec looked at Nixon. "How can you
|
|||
|
people eat that stuff?"
|
|||
|
"It's has to do with tradition," Tim said. "Something
|
|||
|
that we've only got a few years of."
|
|||
|
"Goddamn spacers," said Nixon.
|
|||
|
Stu gave Nixon a very intense glare. "You sound as bad as
|
|||
|
the people who were chasing you."
|
|||
|
"They made a mistake," Nixon said. "I can forgive that.
|
|||
|
But I do not believe that I am making a mistake now."
|
|||
|
"Would you know it if you were?" grumbled Diana.
|
|||
|
"I was out of touch for a long time," Nixon went on. "And
|
|||
|
I've only been aware of what's going on for a very short time,
|
|||
|
but it's pretty obvious to me."
|
|||
|
"And what is that?" Stu asked.
|
|||
|
"I want to be clear about this. There's no point in being
|
|||
|
unclear. It's obvious to me that some damn fringe group of
|
|||
|
spacers, or something closely allied with you, has taken
|
|||
|
advantage of an unfortunate medical disaster to subvert and
|
|||
|
destroy the remaining values and institutions of the United
|
|||
|
States. I also suspect some form of economic terrorism as
|
|||
|
well. You must understand, I learned to deal with this kind of
|
|||
|
thing in the nineteen sixties. I insist that you return me to
|
|||
|
Earth!"
|
|||
|
"Uh, oh," said Alec. "I thought fascism was dead."
|
|||
|
"Relax," said Stu, who was feeling the change in the spin
|
|||
|
drive as they continued to get farther from the gravity well,
|
|||
|
"we'll take you home, Mr. Nixon."
|
|||
|
Stu entered a course change into the computer. The
|
|||
|
frequency of the drive shifted subtly.
|
|||
|
"When the founding fathers chartered our great nation,"
|
|||
|
Nixon said, "they had a set of values which were to guide the
|
|||
|
union. These were not lightly considered things. These were
|
|||
|
based on the long history of civilization, on the god-fearing
|
|||
|
ethics of the Puritans, Protestants and Quakers who founded
|
|||
|
America. Values of right and wrong, law and order, patriotism,
|
|||
|
are what made the United States great. Who are spacers to
|
|||
|
trifle with these things?"
|
|||
|
"Actually," said Diana, "Stu and I were British,
|
|||
|
originally."
|
|||
|
Tim displayed a perverse grin. "The founding fathers
|
|||
|
wished to free the colonists from an oppressive government,"
|
|||
|
he said. "Jefferson, Franklin, Washington and the rest placed
|
|||
|
great value on the rights and freedoms of the individual. They
|
|||
|
wanted to create a government which served to preserve those
|
|||
|
rights and freedoms. Now, through space migration and life
|
|||
|
extension, we are creating a stable society where the state is
|
|||
|
not necessary. In our society, the individual is responsible
|
|||
|
for maintaining and protecting his own rights and freedoms.
|
|||
|
This is a difficult thing for you old-timers to understand.
|
|||
|
The neural pathways of a lot of people seemed to crystallize
|
|||
|
sometime during the nineteen fifties."
|
|||
|
"I think I understand," said Nixon. "You are subversives
|
|||
|
and anarchists. The 'withering of the state' is a communist
|
|||
|
idea. It's nothing new. It's been around for longer than you
|
|||
|
have, young man. And it's still wrong. I told Chairman Mao..."
|
|||
|
As the space-bus changed direction, they suddenly became
|
|||
|
weightless. Nixon turned slightly green as he floated out to
|
|||
|
the end of his tether, swaying there.
|
|||
|
"Whoa!" Stu exclaimed. "Take a deep breath. Grab the arm
|
|||
|
of your seat and steady yourself. Take a nice, even breath.
|
|||
|
Care for a toke? Sometimes calms the stomach."
|
|||
|
"A what...?" Nixon shakily held onto the arm.
|
|||
|
Stu was holding a large and smoldering pipe in front of
|
|||
|
Nixon's face.
|
|||
|
"Oh, my god," said Nixon. "Drug fiends, spacers,
|
|||
|
anarchists..."
|
|||
|
As they began their descent toward Earth, the
|
|||
|
acceleration began to push them gently back into the seat
|
|||
|
cushions. Nixon began to breath more regularly.
|
|||
|
"Sorry," said Stu. "I forget. A dangerous narcotic,
|
|||
|
right?"
|
|||
|
"You're ruining your life with that stuff," said Nixon.
|
|||
|
"I will not ruin mine."
|
|||
|
"Not that way," said Diana.
|
|||
|
"The herb Pantagruelion is much-maligned, but incredibly
|
|||
|
useful," Tim grinned.
|
|||
|
"You don't understand the new economy." Alec patted a
|
|||
|
bale of hemp. "Look around you."
|
|||
|
Nixon's eyes widened as he finally realized that most of
|
|||
|
the bus was filled with greenish bales of compressed
|
|||
|
marijuana. "Shit," he said. "Drug smugglers. You goddamn
|
|||
|
spacers are drug smugglers, too. I should have known it. I'm
|
|||
|
going to see to it that you spend the rest of your days in
|
|||
|
prison!"
|
|||
|
"And who is going to enforce that?" asked Tim.
|
|||
|
"I will," said Nixon. "I will. Shit."
|
|||
|
24. ORACLE
|
|||
|
|
|||
|
They left Nixon at a train station on the outskirts of
|
|||
|
D.C. and continued on to Arcology 93.
|
|||
|
"It's scary to know that there are still people like
|
|||
|
Nixon out there," said Essence, the dreadlocked black woman.
|
|||
|
"It's weird," said Diana. "The feeling that he just
|
|||
|
might, somehow, be able to shit on us."
|
|||
|
"In the old days, he would have seriously shit on us,"
|
|||
|
said Tim. "I remember him. He had it in for me, for a while.
|
|||
|
I remember him when he was young, too. Massive second circuit
|
|||
|
imprint. The world's biggest asshole, in a sense."
|
|||
|
"There's more here than we really can know, I think,"
|
|||
|
said Stu. "For instance, why did Mr. Nixon look like a spacer?
|
|||
|
That's strange. And when he first came on board, I ran the
|
|||
|
oracle program. Take a look."
|
|||
|
|
|||
|
The flowers that the end confused TOGETHER is
|
|||
|
within this shit. The passed through things
|
|||
|
everyone has pulsating into understanding is born
|
|||
|
useful. The beginning is auspicious. It
|
|||
|
illumination raw material of life each of us BRING
|
|||
|
danger from that putrescence develops by
|
|||
|
understanding from difficulty and script. Enemies
|
|||
|
list just sulky and hostile once the toothpaste is
|
|||
|
neither. Superannuate crap flow up the spinal
|
|||
|
column in our time. Out of the tube we merely
|
|||
|
recycle the old shit. No one dies using
|
|||
|
illumination good nor bad US. The potential to
|
|||
|
nourish in the old time difficulty is and transform
|
|||
|
the possibility to fulfill, to guard, for it is
|
|||
|
hard to get it back in. The same basic
|
|||
|
transformation death and decay were necessary of
|
|||
|
our genetic. Against using danger is.
|
|||
|
|
|||
|
"It's quite interesting," said Diana. "And somewhat
|
|||
|
enigmatic."
|
|||
|
"My first impression," said Stu, "is that something is
|
|||
|
going to happen to Nixon, something to scare the shit out of
|
|||
|
him. But something that just might transform him. What I want
|
|||
|
to know is what our part in it is..."
|
|||
|
25. DIPPED IN SHIT
|
|||
|
|
|||
|
The train station was a decrepit old place, a crumbling
|
|||
|
cinder block building surrounded by a badly abused patch of
|
|||
|
lawn. There were only a few motorized vehicles pulled up in
|
|||
|
front, a thoroughly dented Checker Marathon and two small,
|
|||
|
three-wheeled things that looked homemade. The rest of the
|
|||
|
traffic, a thin but constant flow, was on foot or bicycle.
|
|||
|
It was a strange mix of people. There were some who Nixon
|
|||
|
quickly identified as spacers, many more who wore old-style
|
|||
|
clothing, and quite a few who fit no category that he could
|
|||
|
understand. The first group looked uniformly young, average
|
|||
|
age about twenty three, but with some small children present.
|
|||
|
The old-earthers were of a wide range of ages, from infant to
|
|||
|
over a hundred years old.
|
|||
|
A passing man with dark brown skin, thick dreadlocks and
|
|||
|
a baggy suit of unbleached hemp smiled at Nixon, then
|
|||
|
approached.
|
|||
|
"Yo," the man said. "Do you have any smoke?"
|
|||
|
Nixon averted his glance and walked on past.
|
|||
|
I should not be here, alone like this, Nixon thought. The
|
|||
|
president should not travel without security. Someone should
|
|||
|
get on this.
|
|||
|
Then he remembered that there were people who were
|
|||
|
supposed to respond to his call. He felt in his jacket pocket
|
|||
|
and found the slip of paper that Nurse Bounty had stuck there.
|
|||
|
He went inside to look for a phone.
|
|||
|
At the ticket window, a bored and balding middle-aged man
|
|||
|
stared at him through scratched plexiglass.
|
|||
|
"Phone?" the man asked. "Public net access, over there,
|
|||
|
on the wall."
|
|||
|
"Thanks," said Nixon. "Thanks."
|
|||
|
A row of small stalls lined the wall, most of them in
|
|||
|
use. Nixon found an empty one and stood inside it,
|
|||
|
contemplating the slip of paper. One was an emergency number.
|
|||
|
Was this really an emergency? Would that bring the press as
|
|||
|
well? Would it do to have the public know that the president
|
|||
|
had been attacked by his constituents, abducted by spacers, by
|
|||
|
the enemy, and was hanging around a train station like a bum?
|
|||
|
Certainly not.
|
|||
|
The other option was Nurse Bounty. She had said to call
|
|||
|
any time, and it didn't have to be an emergency. Hopefully she
|
|||
|
could be discreet. She was a nurse, Nixon considered, she
|
|||
|
could be discreet.
|
|||
|
Inside the stall was a screen, a very small speaker
|
|||
|
grill, and a slot for accepting paper money.
|
|||
|
The speaker emitted a muted beep and the screen lit up
|
|||
|
with the words, "What is your billing, please?"
|
|||
|
"I am President of the United States," Nixon said.
|
|||
|
"Please state complete name for vocal recognition," the
|
|||
|
screen read.
|
|||
|
"Richard Milhous Nixon."
|
|||
|
"Recognized. State file name or access code."
|
|||
|
Nixon read the number from the paper.
|
|||
|
"Thank you," said the screen.
|
|||
|
The screen flashed for a moment, then cleared. Nurse
|
|||
|
Bounty's face and shoulders filled the frame. Her shoulders
|
|||
|
were bare and Nixon tried to remember if the dress she had
|
|||
|
been wearing had straps or if...
|
|||
|
"Hello? Mr. President. Hi. Where are you? That doesn't
|
|||
|
look like the White House."
|
|||
|
"I'm at a train station."
|
|||
|
"How in the name of chaos did you get there?"
|
|||
|
"It's a strange story. What concerns me more at this time
|
|||
|
is, how do I get back?"
|
|||
|
"Where are you? What station?"
|
|||
|
"I don't know. Hold on."
|
|||
|
He stuck his head out of the booth and asked the first
|
|||
|
old-earth type he saw. The man gave him a dirty look, but told
|
|||
|
him anyway.
|
|||
|
"Silver Spring," Nixon said.
|
|||
|
"How'd you get all the way over there? Never mind. Tell
|
|||
|
me later. Are you all right? Are you in any danger?"
|
|||
|
"I'm just fine."
|
|||
|
"Okay. Good. Take the train to Union Station. I'll meet
|
|||
|
you there."
|
|||
|
"I don't, uh, have any money."
|
|||
|
"You don't need it," Nurse Bounty said. "Tell the person
|
|||
|
at the ticket window who you are. I'll see you soon."
|
|||
|
The screen went blank. Nixon wandered out of the stall
|
|||
|
and back to the ticket window.
|
|||
|
"One way to Union Station," he told the man.
|
|||
|
"Seventeen-fifty," the man said.
|
|||
|
"I am President of the United States."
|
|||
|
"Yeah, right. Vocal recognition into the grill."
|
|||
|
Nixon said his name into the small grill mounted next to
|
|||
|
the window. The grill beeped softly and a digital readout lit
|
|||
|
up: $17.50.
|
|||
|
"I'll be dipped in shit," the man said. "You are the
|
|||
|
president. You look like a freak. Uh, sir."
|
|||
|
"Yes," Nixon said. "I know. May I have my ticket please?"
|
|||
|
26. ALL ABOARD
|
|||
|
|
|||
|
The train looked like a good, old-fashioned, twentieth
|
|||
|
century locomotive, but it had been rebuilt and patched in
|
|||
|
hundreds of places. The sound of the engines was an old,
|
|||
|
familiar rhythm that made Nixon's heart race. How long had it
|
|||
|
been since he had ridden a train?
|
|||
|
He remembered the spur line of the Santa Fe Railroad
|
|||
|
which went past his childhood home in Yorba Linda. The tracks,
|
|||
|
single of purpose, with steel resolve, stretched to infinity
|
|||
|
in both directions. The powerful freight trains would shake
|
|||
|
the ground, rattle the windows, and a young Nixon would dream
|
|||
|
of guiding the big engines to faraway places. The dopplering
|
|||
|
whistle would call to him with a siren song of adventure,
|
|||
|
dignity and riches.
|
|||
|
A conductor in a worn and partially homemade uniform
|
|||
|
leaned out of an open door. "All aboard!" he called.
|
|||
|
Nixon reveled in his memories. At least the trains are
|
|||
|
still running, he thought. At least there's still some order
|
|||
|
somewhere.
|
|||
|
27. CANNABIS CULTURE
|
|||
|
|
|||
|
"It's very potent," Alec said. "Fifth generation lunar
|
|||
|
herb. High yields all around. Well, we didn't include much
|
|||
|
fiber, but if you want some, we can bring it the next time."
|
|||
|
The bus was in a large ground-floor garage, its back door
|
|||
|
wide open to allow crew members and Arc93 staff access to the
|
|||
|
bales of aromatic hemp. The dark green blocks were being
|
|||
|
stacked on a pallet and another team had already begun carting
|
|||
|
some of it off to the arcology's laboratory.
|
|||
|
Bil Haar, arcology staffer, said, "That's okay. We're
|
|||
|
doing more with synthetics now. We're learning ways to
|
|||
|
cultivate extremely long-chain molecules using the cannabis
|
|||
|
synthetics as a matrix. We feed in any kind of biomass and we
|
|||
|
get some beautiful materials. Very durable fabric, some of it,
|
|||
|
and plastics. We're also working on producing fuels by the
|
|||
|
same process, but our yields haven't been cost-effective yet."
|
|||
|
"Why don't you just farm more of your own hemp?" Alec
|
|||
|
asked. "There's land around here. Sunshine. You could make all
|
|||
|
the alcohol and gasoline you want."
|
|||
|
Bil smiled. "That would be too easy. Actually, we have to
|
|||
|
keep everything we produce inside the structure. An outside
|
|||
|
hemp crop would be skagged instantly by old-earthers."
|
|||
|
"Why don't they farm some hemp?" asked Stu.
|
|||
|
"That," said Bil, "is the question of the century.
|
|||
|
Something to do with tradition, I understand."
|
|||
|
Tim and Essence wandered up.
|
|||
|
"Last bale," said Tim. "Except enough to get us out of
|
|||
|
the well."
|
|||
|
Everyone smiled.
|
|||
|
"Hey," said Bil, "cog this." He produced a small plastic
|
|||
|
vial containing a fine brown powder. "Latest from the lab.
|
|||
|
Batch thirty one, that's what we call it until someone can
|
|||
|
think of a better name. Stimulates quantum non-local
|
|||
|
functions. Specific, non-toxic, and a hell of a lot of fun."
|
|||
|
He tossed the vial to Stu. "A sample. Snort up one small line.
|
|||
|
It starts to work in seconds, lasts about ten minutes."
|
|||
|
28. RAILROAD REVERY
|
|||
|
|
|||
|
The car lurched and they were rolling slowly out of the
|
|||
|
station, pulling away from the cinder block building, slowly
|
|||
|
accelerating and then moving pretty quickly and the sunlight
|
|||
|
now golden with the end of day flickering through the trees.
|
|||
|
Nixon took a deep breath, exhaled.
|
|||
|
The train rocked steadily and they moved through the
|
|||
|
golden flashes as the telephone poles whooshed by whoosh by
|
|||
|
whooshed flash. Every comfortable seat felt the relaxation of
|
|||
|
flash flicker whoosh the Yorba flash Linda beat dignity. Nixon
|
|||
|
flicker watched sway as deteriorated houses flash buildings
|
|||
|
rock nice the weed choked flicker roads flash. America,
|
|||
|
flicker thought, America, flash America flicker sway rock
|
|||
|
power. Down the flash train rock rolled into flicker sway
|
|||
|
darkness of flash tunnel the flicker lights along the flash
|
|||
|
walls flashing flash by every flash few seconds. His throat
|
|||
|
flicker itched. Nixon took a deep breath, exhaled.
|
|||
|
The flash Nixon mind went flash into thoughts of flash
|
|||
|
the days spent lying flash out on the summer flash lawn while
|
|||
|
the flash trains rumbled by Yorba flash Linda. His eyes flash
|
|||
|
closed and the flash was general red flash orange flashing
|
|||
|
flash as punctuation of each flicker thought. There flash had
|
|||
|
been a sense of flash power in the flash trains in those days.
|
|||
|
Flash they symbolized everything flash modern and hopeful
|
|||
|
flash. Bright, shiny flash windows flashing in the sun
|
|||
|
flicker. Nixon took a deep breath and...
|
|||
|
Exhaled. Would it be flash all right to flash just doze
|
|||
|
off? I flash might stay flicker awake because I flash don't
|
|||
|
know flash. It's comfortable and flash oval spacers drugs
|
|||
|
flash they manual control. Fuck flash Nixon liked tape flicker
|
|||
|
cars space office flash computer cloth years flash money good
|
|||
|
republican flash the carpet being president flash young again
|
|||
|
values flash Bounty in the flash oval coffee shit flash
|
|||
|
republican cloth assholes flash sleeve hemp mother flicker
|
|||
|
cigarettes dreadlock flash breasts coma night flash sun
|
|||
|
shining on flash a field where flash Nixon knew the flash
|
|||
|
people who gathered there. Some were friends. Good friends.
|
|||
|
One was a beautiful young woman, electric shining hair in
|
|||
|
the glorious sun, another was an old hag, dim and gnarly in
|
|||
|
the fading light. There was an old man who loved the beautiful
|
|||
|
woman, a young man who craved perverse union with the hag.
|
|||
|
The rules of the game were simple, all Nixon had to do
|
|||
|
was to convince his friends that they should wear the kind of
|
|||
|
clothes that he was wearing. He looked down at his suit,
|
|||
|
austere, dark green and crumbling nicely between his fingers.
|
|||
|
It was good, it was the way to win.
|
|||
|
The beautiful woman said, "I want you, Dick."
|
|||
|
He reached out to touch her and held nothing but a bit of
|
|||
|
gleaming light that drifted from his fingers and slid into the
|
|||
|
dark night.
|
|||
|
The old hag said, "Richard, she left you. Now you have
|
|||
|
me. Now you have me. Now."
|
|||
|
She advanced on him. He backed away, the stench of death
|
|||
|
in his nose.
|
|||
|
The old man said, "I am you, Dick." Rotten skin was
|
|||
|
peeling from his face.
|
|||
|
The young man said, "You can have her, Dick. It's all
|
|||
|
right. Take her." He pushed Nixon toward the hag.
|
|||
|
Nixon jumped back. "Clothes make the man," he said.
|
|||
|
"Come on," said the hag. "Come on. Now."
|
|||
|
A flash of reddish light gleamed from the hairless
|
|||
|
forehead of the old man. "Bring us together," he said.
|
|||
|
"Now more than ever," said the hag.
|
|||
|
"Polyester," said Nixon. "The smell."
|
|||
|
"Hell," said the hag. With unbelievable agility, she
|
|||
|
jumped toward Nixon.
|
|||
|
Nixon awoke, too late to stop the convulsive reflex
|
|||
|
motion of his legs. He took a deep breath.
|
|||
|
The train. I am riding on the train to Union Station, he
|
|||
|
reminded himself. The train. Just a strange dream. I just
|
|||
|
drifted off a little. Do you call it highway hypnosis if
|
|||
|
you're riding a train? I should know that.
|
|||
|
He looked around. Everything seemed fairly normal. They
|
|||
|
had come out of the tunnel. The sky was now deep red with
|
|||
|
sunset. Wind whistled by the rumbling train. Some of the other
|
|||
|
passengers slept, some gazed into laptop flatscreens, some
|
|||
|
stared out the windows or into space.
|
|||
|
Nixon took a deep breath, exhaled.
|
|||
|
29. UNION STATION
|
|||
|
|
|||
|
He stepped off the train and looked around. Where was
|
|||
|
Nurse Bounty?
|
|||
|
A thin sprinkling of people made the cavernous terminal
|
|||
|
look even more vast than Nixon remembered it. It looked
|
|||
|
dirtier, too, and a high percentage of the people looked like
|
|||
|
vagrants. It was still noisy, though, random voices booming
|
|||
|
out against the background rumbling of the trains.
|
|||
|
An old-looking man in a tattered and fragrant brown cloth
|
|||
|
coat shuffled by, pushing an ancient and rusty shopping cart.
|
|||
|
The cart was laden with an amorphous mass of found junk: rags,
|
|||
|
shards of plastic, bottles, and cans. One large,
|
|||
|
unidentifiable lump was pursued intently by a cloud of busily
|
|||
|
humming flies.
|
|||
|
The man looked up at Nixon. His gaping mouth revealed
|
|||
|
rotten, blackened teeth. "You!" he said, his voice cracked and
|
|||
|
dry. "I know you." He stopped pushing the cart and stepped
|
|||
|
toward Nixon, examining him intently.
|
|||
|
Nixon studied the man's face. Would he look familiar if
|
|||
|
he were younger? Nixon couldn't place it.
|
|||
|
"They made you young again," the man said. "The bastards.
|
|||
|
Took everything I had. Made you president and made you young.
|
|||
|
Shit."
|
|||
|
"Uh, do I know you?"
|
|||
|
"Heh, heh, heh. You motherfucker. That's what everyone
|
|||
|
says. But everyone knew me once. My name's Trump."
|
|||
|
"Holy shit," said Nixon.
|
|||
|
"That's what everyone says. You a spacer now, Nixon?"
|
|||
|
"Uh, no. Absolutely not. I can explain the hair and
|
|||
|
clothes. I am, uh, traveling incognito, as it were."
|
|||
|
"You won't fool them, Nixon. The bastards. Watch out.
|
|||
|
They'll get you, too. You think you're tough, they'll just
|
|||
|
grind you down like they did to me. Grind you down. Take
|
|||
|
everything. Everything you work for. Everything. We should
|
|||
|
talk, Nixon. I can tell you some things."
|
|||
|
"Uh, yes," said Nixon. "I'll consider it. Yes. Uh, I've
|
|||
|
got to go..."
|
|||
|
Nurse Bounty was approaching, her bright blue dress
|
|||
|
visible across the expanse of floor.
|
|||
|
"Heh, heh, heh," said Trump. "The bastards."
|
|||
|
Nixon hurried away to meet Bounty.
|
|||
|
She was a welcome, familiar sight amidst the strangeness
|
|||
|
and degeneration. Nixon smiled involuntarily. She returned the
|
|||
|
grin. It made Nixon feel good.
|
|||
|
The dress had straps.
|
|||
|
30. TINY BUMP
|
|||
|
|
|||
|
Nurse Bounty's car was a small, bubble-like thing perched
|
|||
|
atop four large wheels. It gave an impression of light weight,
|
|||
|
but when Nixon pulled open the door and climbed inside, it
|
|||
|
seemed very solid. When Nurse Bounty turned the key in the
|
|||
|
ignition, the sound of the engine was incredibly faint, a
|
|||
|
thin, distant hum. There was little vibration to feel through
|
|||
|
the seat.
|
|||
|
"I hope you don't mind, Mr. President," Nurse Bounty
|
|||
|
said, "but I'm going to take you to my place for a bit. I was
|
|||
|
right in the middle of something when you called. I ran out
|
|||
|
with it half-finished. I only live a couple of blocks away."
|
|||
|
Nixon wanted to go back to the White House, but there was
|
|||
|
little that he could do. Best to trust the nurse, he thought.
|
|||
|
"Don't worry," she said. "I'll get you back as soon as
|
|||
|
I'm done, if you'd like. It shouldn't take long."
|
|||
|
They rode in silence, Nixon somewhat nervously trying not
|
|||
|
to stare at the place where Nurse Bounty's thighs emerged from
|
|||
|
the short dress. Or the place where the smooth roundness of
|
|||
|
fabric over her right breast was interrupted by the tiny bump
|
|||
|
of a nipple.
|
|||
|
Brezhnev, he prayed. Oh, Brezhnev. Mao!
|
|||
|
I want her, he thought. No! I don't want her.
|
|||
|
His chest felt tight, his breathing was shallow.
|
|||
|
Nurse Bounty broke the silence. "Okay, Mr. President, how
|
|||
|
in the name of the infinite play did you end up in Silver
|
|||
|
Spring?"
|
|||
|
With a struggle, Nixon found his voice and told the
|
|||
|
story.
|
|||
|
Nurse Bounty laughed. Nixon remained confused.
|
|||
|
31. ENHANCED VID, EARTHSTYLE
|
|||
|
|
|||
|
Nurse Bounty's apartment was large and comfortable. A
|
|||
|
big, dark, leather-like sofa and several armchairs dominated
|
|||
|
the living room, beneath a cathedral ceiling. On a polished
|
|||
|
wood coffee table in the center were a variety of small,
|
|||
|
electronic devices and headsets.
|
|||
|
"Make yourself at home," she said. "I need to use the
|
|||
|
V.R. for a little while. You can use the vid deck, if you'd
|
|||
|
like."
|
|||
|
Nixon scanned the variety of things on the coffee table.
|
|||
|
"Um..."
|
|||
|
"That one," Bounty said, pointing to a very small black
|
|||
|
box attached to a large, almost helmetlike headset. "Use it
|
|||
|
just like you do your computer. It's limited to vid
|
|||
|
broadcasts, though. Nothing interactive. Have fun. I shouldn't
|
|||
|
be very long."
|
|||
|
Bounty settled back in a chair and fitted a V.R. headset
|
|||
|
over her eyes and ears. Her facial muscles went slack as she
|
|||
|
became absorbed in her work.
|
|||
|
Nixon sat on the couch and watched her for a minute, her
|
|||
|
lips full and relaxed, her breasts stretching the fabric of
|
|||
|
the dress with each inbreath. He suddenly wanted to touch her,
|
|||
|
to stroke the smooth skin of her thigh, to kiss those pouting
|
|||
|
lips. He was getting a hard-on again.
|
|||
|
Oh my god, he thought. What am I doing? What am I
|
|||
|
thinking? I am president. Oh, but it would feel so good to
|
|||
|
slide my penis into her...
|
|||
|
Brezhnev! Mao! Shit, he thought, I don't think I was this
|
|||
|
horny when I was young the first time!
|
|||
|
He picked up the vid helmet and inspected it. It was
|
|||
|
padded on the inside and looked to be quite comfortable.
|
|||
|
Video, he thought, a good distraction, that's what I
|
|||
|
need. Maybe there's a football game. Or a good movie. How long
|
|||
|
has it been since I've seen Patton?
|
|||
|
He put on the headset and settled back against the
|
|||
|
cushions. All was dark, all was quiet. A lingering image of
|
|||
|
Nurse Bounty remained inside his head. The image began to do
|
|||
|
a slow striptease.
|
|||
|
Stop it! he thought. "Begin," he told the vid unit.
|
|||
|
The unit came to life, but was blank. Nixon felt as if he
|
|||
|
were in a great void, suspended somehow. It was disorienting,
|
|||
|
but the unit processed quickly, the void took on form and
|
|||
|
there was now a definite down, a floor that he was standing
|
|||
|
on. In front of him, with a snap, appeared a display of
|
|||
|
numbers: 1 to 93. The number eight had a circle around it and
|
|||
|
was flashing on and off.
|
|||
|
"Channel selection?" a gentle voice inquired.
|
|||
|
"Eight," said Nixon. Why not?
|
|||
|
A snap and Nixon was seated at a romantic dinner table.
|
|||
|
Candles glowed and champagne bubbled in crystal glasses. The
|
|||
|
sound of violins wafted about like a breeze. An extremely
|
|||
|
handsome man leaned across the table to touch the hand of a
|
|||
|
ravishing, dark-haired woman who wore a dress not unlike Nurse
|
|||
|
Bounty's. The experience was clearer, sharper than the
|
|||
|
enhanced vid he had seen on the White House computer.
|
|||
|
"Uh, hello," Nixon said. "I'm sorry to intrude, I uh..."
|
|||
|
"Darling," the handsome man murmured, ignoring Nixon
|
|||
|
totally, "my cold symptoms are gone. And so are my warts. And
|
|||
|
my urinary tract infection. I can have sex again! I feel
|
|||
|
great." He kissed her hand. "Thank you for recommending Dosup.
|
|||
|
I want you more than ever, darling."
|
|||
|
The scene sparkled and dissolved and turned a brilliant
|
|||
|
white. The two lovers kissed passionately before a monumental
|
|||
|
bottle of Dosup pills.
|
|||
|
"Dosup," said a deep, disembodied voice. "For symptoms of
|
|||
|
infectious diseases... and for your love life. Dose up today."
|
|||
|
The scene was washed away by a swirl of rainbow colors.
|
|||
|
To the sound of a martial drum, a giant caduceus appeared,
|
|||
|
followed by the number eight. The symbol and number marched in
|
|||
|
a great circle, all the way around Nixon.
|
|||
|
"You are experiencing Channel Eight, presenting the best
|
|||
|
in medical advice and drama!" an appealing male voice said.
|
|||
|
"Stay tuned for the acclaimed prime time drama, Appendix
|
|||
|
Regeneration."
|
|||
|
"How do I change the channel?" Nixon asked.
|
|||
|
The display changed abruptly, and Nixon was again
|
|||
|
presented with the channel numbers.
|
|||
|
"Channel selection?" the vid-deck said.
|
|||
|
"Uh, twenty-three," he said off the top of his head. The
|
|||
|
flashing circle shifted from the eight to the twenty-three.
|
|||
|
A snap and Nixon found himself outside, near a highway.
|
|||
|
A huge, old Chevrolet Impala, from a time that Nixon
|
|||
|
remembered clearly, roared along, riding on air about a foot
|
|||
|
and a half above the road. Special effects gave the vehicle a
|
|||
|
glowing, spherical aura.
|
|||
|
Behind the speeding Impala was a quick little bubble-car,
|
|||
|
not unlike Nurse Bounty's, the big wheels bouncing
|
|||
|
dramatically over the pavement. The Impala was getting faster
|
|||
|
and the bubble-car was falling behind.
|
|||
|
Suddenly Nixon was inside the bubble-car. He was seated
|
|||
|
behind a middle-aged, but good-looking man and a beautiful
|
|||
|
blond woman. The woman, Nixon saw, wore a short, red dress of
|
|||
|
a similar design to the blue one that Nurse Bounty had.
|
|||
|
"They're getting away," the woman said.
|
|||
|
"We've got to disable their spin drive," the man said.
|
|||
|
"Wait! I've got an idea! The drive has to be controlled by
|
|||
|
some kind of simple computer. If we can access it somehow
|
|||
|
through the cybernet..."
|
|||
|
The woman slipped a headset over her long, golden hair.
|
|||
|
The bubble-car leaped, bounced side-to-side, came into a turn.
|
|||
|
"There's some kind of security," she said. "I can't..."
|
|||
|
"Give it to me," the man said. "Grab the wheel."
|
|||
|
He pulled the headset from her glossy locks, and the car
|
|||
|
lurched as the woman grabbed the wheel. The man donned the
|
|||
|
headset and the point of view changed to cyberspace.
|
|||
|
The enemy computer was a small purple barrel, streams of
|
|||
|
purple digits swirling over its surface. Bright yellow
|
|||
|
triangles surrounded it on six sides.
|
|||
|
The man was a dashing cartoon figure, dressed much as he
|
|||
|
had been in the car. He advanced toward the little barrel and
|
|||
|
a yellow triangle darted out and struck him so that he fell
|
|||
|
back.
|
|||
|
The man began to mutter what sounded like an incantation:
|
|||
|
"Subroute one ay, fifteen goto twenty five, dimension seven
|
|||
|
comma one hundred thirty, vid bright contact, subroute
|
|||
|
eighteen bee six, goto eleven..."
|
|||
|
A round, blue shield appeared in the man's left hand, a
|
|||
|
lightning bolt in his right. "I will avenge Parker's death,"
|
|||
|
the man said. "He was a friend of mine!"
|
|||
|
He leaped back and forth as a yellow triangle attacked,
|
|||
|
bouncing off the shield and whizzing low over Nixon's head.
|
|||
|
The triangles swooped in one after the other, but the man was
|
|||
|
too quick and each triangle was deflected by the shield.
|
|||
|
Finally, he was in close enough and he hurled the lightning
|
|||
|
bolt. The purple barrel exploded in a frenzy of multi-colored
|
|||
|
sparks.
|
|||
|
The point of view was suddenly back outside along the
|
|||
|
highway. The globe of light around the Impala disappeared,
|
|||
|
pitching the big, old car to the ground where it bounced
|
|||
|
heavily, skidded sideways, and then sailed over an embankment.
|
|||
|
It fell for a long moment, then exploded brilliantly on the
|
|||
|
rocks below.
|
|||
|
"Killed by their own greed," the man said, the headset
|
|||
|
pulled up rakishly on top of his head. He and the woman were
|
|||
|
climbing from the parked bubble-car to peer over the
|
|||
|
embankment. "Anyone who carries that much fuel with them knows
|
|||
|
the kind of risk they take."
|
|||
|
"I'm so relieved," the blond said. "I never have to think
|
|||
|
of those evil spacers again!" She wrapped her arms around her
|
|||
|
hero and pressed her body against him. "Thank you,
|
|||
|
Whittington!"
|
|||
|
Whittington peered over the woman's shoulder, directly at
|
|||
|
Nixon, smiled and winked.
|
|||
|
The scene faded and some electronic music came up. A
|
|||
|
stream of credits began to flow around the display.
|
|||
|
Not bad, Nixon thought. Very real. Actually, somehow,
|
|||
|
more than real. The drama was familiar, but the enhanced vid
|
|||
|
made it a total experience. Much more powerful than
|
|||
|
television.
|
|||
|
Snap. Nixon was in a brightly lit room. Thousands of
|
|||
|
lights clustered in the ceiling were all pointing to one
|
|||
|
thing:
|
|||
|
A beautiful new vid deck.
|
|||
|
The light glinted off its polished plastic case and a
|
|||
|
woman's voice said, "Make yourself comfortable, jack it in,
|
|||
|
and the new Compell 6400 will take you to..."
|
|||
|
Instantaneously, the room, the lights, the deck, were
|
|||
|
gone and Nixon stood at the center of an incredible, dazzling
|
|||
|
shower of sparks, blue, gold, green, purple. They swirled down
|
|||
|
from the sky, spiraled up from the ground. It made him feel
|
|||
|
exultant, excited.
|
|||
|
"...another world."
|
|||
|
The sparks were gone and the lights glared once again on
|
|||
|
the beautiful new deck, which now rotated slowly.
|
|||
|
"The Compell 6400 is simply the finest enhanced three-
|
|||
|
dimensional video technology available at any price. New bring
|
|||
|
circuitry ensures absolutely no disorientation, always extreme
|
|||
|
comfort. The brightest colors, the clearest sound, the Compell
|
|||
|
6400 is the choice of video experts. One hundred percent made
|
|||
|
on the planet Earth."
|
|||
|
The sparks were suddenly back, brighter than before.
|
|||
|
"We can Compell you!"
|
|||
|
Snap. A large room, very comfortable, with a family of
|
|||
|
four, mother, father, toddler and infant, seated near the
|
|||
|
radiant warmth of a glowing coal stove.
|
|||
|
"Coal heat is a natural," the father said to his wife.
|
|||
|
"This new low-maintenance system is quiet, more efficient than
|
|||
|
some other methods of heating, and coal is mined right here on
|
|||
|
Earth! That means jobs!"
|
|||
|
"Yes," the wife said, "that's right. And if the Earth's
|
|||
|
population continues to decline at the present rate, our coal
|
|||
|
reserves could last five thousand years! Less people also
|
|||
|
means that pollution from coal combustion isn't such a problem
|
|||
|
anymore!"
|
|||
|
"The best part is that we're warm and comfortable, all
|
|||
|
year long!"
|
|||
|
The mother and father smiled and gave each other a warm
|
|||
|
hug.
|
|||
|
"Check your net access for the coal dealer near you!" a
|
|||
|
voice-over said.
|
|||
|
Snap. It was a high-tech kitchen, everything in gleaming
|
|||
|
stainless steel. Nixon sat at a table. On the other side of
|
|||
|
the table stood two chefs, one Japanese and the other
|
|||
|
American, each holding a fork. On the table was a plate of
|
|||
|
steaming, fragrant cubes of something pale and moist.
|
|||
|
"New Mefu," the Japanese chef said. "Mmmmm. It tastes
|
|||
|
just like tofu!"
|
|||
|
"That's right," said the American, "but it's made from
|
|||
|
good, Earth-grown pork."
|
|||
|
The two chefs each speared a chunk of Mefu with their
|
|||
|
forks and happily munched on it.
|
|||
|
"Delicious Mefu," a voice-over commented. "Available in
|
|||
|
the butcher section. Another fine product from Oestrike
|
|||
|
industries."
|
|||
|
Snap. Everything turned blue, except the floor, which was
|
|||
|
black. A stream of 23's appeared, and played choo-choo train
|
|||
|
all around Nixon. A lone electric guitar wailed in the
|
|||
|
distance.
|
|||
|
"And now," said a voice-over, "Channel Twenty Three
|
|||
|
brings you an all-new episode from that lovable family, The
|
|||
|
Hedges!"
|
|||
|
An unseen symphony swooned with musical merriness as
|
|||
|
Nixon found himself on a trim suburban street, in front of a
|
|||
|
sprawling ranch house. A bubble-car rested in the driveway and
|
|||
|
a mast with a cluster of parabolic antennae sprouted from the
|
|||
|
roof. In the air above the house appeared the gigantic words,
|
|||
|
THE HEDGES. The front door opened and a smiling, dark-haired
|
|||
|
woman leaned out. She grinned right at Nixon and beckoned for
|
|||
|
him to come on inside.
|
|||
|
And suddenly he was inside, apparently seated in an
|
|||
|
overstuffed chair in the Hedges' living room. It was bright
|
|||
|
and cheery, lots of sunlight and color. Bright red and yellow
|
|||
|
draperies complimented a light blue living room set. Two
|
|||
|
children, a boy of about twelve and a girl of about ten sat
|
|||
|
with large, padded helmets on their heads, wired to a vid deck
|
|||
|
on the coffee table. Their father, with a V.R. headset over
|
|||
|
his eyes and ears, looked serious.
|
|||
|
Mrs. Hedges bustled in from another room. Nixon could now
|
|||
|
see that she looked part oriental, part european, attractive
|
|||
|
in a pleasant way. She wore a dress the top of which was like
|
|||
|
Nurse Bounty's, clinging tightly to the breasts, the bottom of
|
|||
|
which made Nixon think more of the dress that the simulation
|
|||
|
of Martha wore. He guessed from what he could see of the
|
|||
|
father that the man also was a racial hybrid, perhaps
|
|||
|
black/oriental. His suit looked like it would have been in
|
|||
|
style in the early 1990's.
|
|||
|
"Honey!" she called, in a clear midwestern accent. "Where
|
|||
|
are you? I need your us help!"
|
|||
|
She spotted her husband seated with the computer.
|
|||
|
"Ronald!" She gently shook his shoulder.
|
|||
|
His face showed that he was responding.
|
|||
|
"Ronald!"
|
|||
|
"Save files," he said. "End run." He reached up and
|
|||
|
pulled off the headset. "What is it, dear?" He sounded
|
|||
|
exasperated.
|
|||
|
"I'm sorry to interrupt you, Ronald."
|
|||
|
Ronald scowled. "It's just that every time you get me out
|
|||
|
of cyberspace, something horrible happens."
|
|||
|
"It does not," she said.
|
|||
|
"It does so. Why just the other day you interrupted me
|
|||
|
while I was working because there was some kind of noise or
|
|||
|
something. I went outside to look and a motor home full of
|
|||
|
Scandinavian emigrants came crashing out of the sky into our
|
|||
|
backyard. It barely missed my head. It destroyed the vegetable
|
|||
|
garden."
|
|||
|
"Well, you weren't growing any vegetables."
|
|||
|
"That doesn't matter. And last week, you interrupted me
|
|||
|
while I was working and I lost all of my files."
|
|||
|
"Well, you found them again."
|
|||
|
"It cost us four thousand dollars. Anyway, what is it
|
|||
|
this time?"
|
|||
|
"Well, I had a little accident with the car."
|
|||
|
"Oh, no!" Ronald slapped a hand to his forehead. "What
|
|||
|
happened?"
|
|||
|
"I hit some cans."
|
|||
|
"Some cans? That shouldn't cause too much damage. What
|
|||
|
cans did you hit?"
|
|||
|
"Well, remember those cans you had in the garage..."
|
|||
|
"All those ones that the recycler wouldn't take?"
|
|||
|
"No, honey, not those..."
|
|||
|
"What cans do you mean? Not my..."
|
|||
|
"Methanol cans."
|
|||
|
"The methanol cans? You hit the methanol cans!? That's
|
|||
|
dangerous. They could..."
|
|||
|
"They sort of exploded."
|
|||
|
"They exploded! Was there any fire?"
|
|||
|
"Well, the garage is burning a little."
|
|||
|
"The garage is... THE GARAGE IS ON FIRE! FIRE!"
|
|||
|
They both started racing around the room, screaming,
|
|||
|
"FIRE! FIRE!" Then suddenly they stopped, dead still, and
|
|||
|
looked at each other.
|
|||
|
"Do you think we should tell the children?" Mr. Hedges
|
|||
|
asked.
|
|||
|
"Mr. President."
|
|||
|
Who said that? Nixon thought.
|
|||
|
"Nah," said Mrs. Hedges, "it'll just get them upset. They
|
|||
|
look so peaceful and happy."
|
|||
|
Something seemed to grab Nixon's shoulder. He looked
|
|||
|
around, but could see nothing.
|
|||
|
"Dick!"
|
|||
|
Who said that? Martha? No. Nurse Bounty.
|
|||
|
"End Run," Nixon said.
|
|||
|
The Hedges's home disappeared and Nixon was in darkness.
|
|||
|
He reached up and removed the helmet.
|
|||
|
32. UNREASONABLE IMPULSE
|
|||
|
|
|||
|
Nurse Bounty sat on the couch, close to him, gently
|
|||
|
holding his shoulder, smiling pleasantly. One breast pressed
|
|||
|
lightly against his arm. She smelled musky.
|
|||
|
Nixon very comfortably slid his arms around her and
|
|||
|
kissed her, fully and slowly. Some small part of him asked,
|
|||
|
What am I doing? but that small part was soon lost in the roar
|
|||
|
of O.Z. enhanced hormones. Nurse Bounty reacted, at first,
|
|||
|
with surprise, but quickly returned the kiss with a relaxed
|
|||
|
intensity.
|
|||
|
To Nixon it felt like the first kiss of his life. Or
|
|||
|
maybe all the kisses of his life. He felt the kind of thrill
|
|||
|
that he had felt when he proposed to Pat Ryan on the day that
|
|||
|
they had met. His heart pounded; he felt strangely clear and
|
|||
|
calm.
|
|||
|
The kiss ended, their lips slowly parted. Nurse Bounty
|
|||
|
pushed him gently back.
|
|||
|
"Wait," she said. "Let's do this right."
|
|||
|
33. STU AND DIANA
|
|||
|
|
|||
|
Arc93 had provided an empty basement room, and Stu and
|
|||
|
Diana had just enough time before the concert to do what they
|
|||
|
needed to do. As Stu finished sweeping the floor, Diana set up
|
|||
|
a small table in the center of the room and arranged a small
|
|||
|
assortment of paraphernalia on it: a small drum, an incense
|
|||
|
burner, candles, a wooden wand tipped with opal, a goblet, a
|
|||
|
short sword, and a flat disk on which was engraved either a
|
|||
|
figure eight, or the symbol for infinity. Onto the shiny
|
|||
|
surface of the disk she poured two small lines from the Batch
|
|||
|
31 vial.
|
|||
|
Stu then made a simple compass from a length of twine and
|
|||
|
a piece of chalk, drawing a perfect circle around most of the
|
|||
|
room. He pulled a few things from his pocket and added them to
|
|||
|
the collection on the makeshift altar: hard copies of the two
|
|||
|
oracles concerning Nixon, a tarot card entitled 'The Magus',
|
|||
|
a drawing of an ibis-headed egyptian god, and a small book
|
|||
|
covered with egyptian designs. Diana placed a folded blanket
|
|||
|
and two cushions near the altar, as well as a small audio
|
|||
|
playback device.
|
|||
|
They both stepped out of the circle and viewed the work
|
|||
|
they had done.
|
|||
|
"Ready?" Stu asked.
|
|||
|
34. DICK AND MARCIA
|
|||
|
|
|||
|
"First of all," Nurse Bounty said, "you don't even know
|
|||
|
my first name, do you?"
|
|||
|
"Uh, no... I don't."
|
|||
|
"Marcia. Marcia Bounty. And must I keep calling you Mr.
|
|||
|
President?"
|
|||
|
"'Dick' will be fine for these, uh, informal meetings...
|
|||
|
Marcia."
|
|||
|
Marcia grinned. "Great. Okay, come with me." She stood
|
|||
|
and led him across the living room to a door which Nixon
|
|||
|
assumed led to the bedroom.
|
|||
|
"The great thing about all these big old buildings,"
|
|||
|
Marcia said, "is all the extra rooms. I've got a room for
|
|||
|
everything here. A room for eating, a room for sleeping, a
|
|||
|
room for making love."
|
|||
|
She opened the door and he looked inside.
|
|||
|
A long time ago, he had once slept on a water bed, in a
|
|||
|
hotel room somewhere. It had been a little difficult to get
|
|||
|
used to, but once he had, he slept like a baby. This wasn't a
|
|||
|
water bed; it was a water room. The room measured about twenty
|
|||
|
by twenty feet and the entire floor was covered with a thick,
|
|||
|
gently undulating mattress. Pillows and comforters covered
|
|||
|
much of the surface. Just inside the door was a small foyer
|
|||
|
with hooks for clothing, a tiny refrigerator, and a cabinet.
|
|||
|
Marcia took a small tray from the cabinet and began to
|
|||
|
load it up: a chilled bottle of champagne, glasses, candles,
|
|||
|
an ashtray and a gold cigarette case. When she had what she
|
|||
|
wanted, she rested the tray on the edge of the mattress,
|
|||
|
sending a ripple through the room.
|
|||
|
"Okay," she grinned. "Close the door and take off your
|
|||
|
clothes."
|
|||
|
35. BANISHING 1
|
|||
|
|
|||
|
The electric lights had been turned out and candles
|
|||
|
flickered around the perimeter of the circle. Stu and Diana,
|
|||
|
dressed now in simple, purple robes, silently entered the
|
|||
|
circle and stood before the altar. Each took a couple of slow,
|
|||
|
deep breaths.
|
|||
|
Silence. Forefingers touched to lips. A lung-filling
|
|||
|
breath.
|
|||
|
Diana banged suddenly on the drum, small thunder, and Stu
|
|||
|
let out a roar which emptied his lungs, "APO PANTOS
|
|||
|
KAKADAIMONOS!!"
|
|||
|
They patrolled the inside of the circle, stalking like
|
|||
|
tigers, Diana drumming in staccato bursts.
|
|||
|
Stu returned to the center, the drumming stopped, they
|
|||
|
were still. Diana lit the incense burner and a cloud of
|
|||
|
fragrant smoke rose from the altar. Stu spoke loudly, slowly,
|
|||
|
the sound of his words resonating in their bodies,
|
|||
|
concentrated in the circle, vibrating through the floor. "SOI
|
|||
|
OPHALLI ISKUROS EUCHARISTOS IAO!"
|
|||
|
He walked inside the circumference again, stopping at the
|
|||
|
cardinal points. "THERION," he cried. "NUIT, BABALON, HADIT!"
|
|||
|
The circle was thick with smoke, the walls of the room
|
|||
|
had faded into oblivion. They were two people alone in a void.
|
|||
|
In the center again, before the altar, Stu cried, "IO
|
|||
|
PAN! PRO MOU JUNGES! OPISO MOU TELETARCHAI! EPIDEXIA
|
|||
|
SUNOCHES!! EPARISTERA DAIMONOS! PHLEGI GAR PERI MOU HO ASTER
|
|||
|
TON PENTE. KAI ENTAI STELEI HO ASTER TON HEX ESTEKE.
|
|||
|
"SOI OPHALLI ISKUROS EUCHARISTOS IAO!
|
|||
|
They circled like panthers.
|
|||
|
"APO PANTOS KAKADAIMONOS!"
|
|||
|
They each took a deep breath and exhaled fully.
|
|||
|
Everything was still, quiet except for their breath, and the
|
|||
|
beating of their hearts.
|
|||
|
36. BANISHING 2
|
|||
|
|
|||
|
Nixon's body felt charged with energy.
|
|||
|
To his surprise, the embarrassment of disrobing had
|
|||
|
lasted only a moment. He gazed self-consciously at himself,
|
|||
|
and had liked what he had seen. No paunch, in fact, if
|
|||
|
anything, he was a little too thin.
|
|||
|
Were my genitals this large when I was really and truly
|
|||
|
young? he thought.
|
|||
|
The self-inspection lasted only a moment.
|
|||
|
"Come on," Bounty said, smiling.
|
|||
|
She had shed her garments before Nixon even had a chance
|
|||
|
to notice. She was incredible, more so than he had imagined.
|
|||
|
Without her clothes, Nixon thought, she no longer looked
|
|||
|
trashy. She looked like a goddess, like some kind of classical
|
|||
|
statue. It was the clothes, he thought.
|
|||
|
"Come on! Whatever it is you're standing there thinking
|
|||
|
about, you can leave it behind."
|
|||
|
He followed her onto the broad mattress. She moved with
|
|||
|
great ease on the rippling surface and Nixon marvelled at the
|
|||
|
play of muscles along her back, her buttocks, her thighs. He
|
|||
|
moved after her slowly, crawling on top of the blankets and
|
|||
|
pillows.
|
|||
|
She set down the tray near the center of the room and
|
|||
|
began worrying at the champagne cork. Nixon came up behind her
|
|||
|
and ran his hand along her naked side, feeling the smoothness
|
|||
|
of her skin with unusual intensity.
|
|||
|
I had forgotten, he thought.
|
|||
|
"You're just what I need," he said. "Oh my god! I want
|
|||
|
you! I love you forever! Will you marry me?"
|
|||
|
His hand slid up toward a breast, but she pushed him
|
|||
|
back.
|
|||
|
"Just hold on!" she laughed. "Hold on. Love me forever?
|
|||
|
Marry me? That's not quite what I had in mind."
|
|||
|
She went to one wall and began arranging candles on a
|
|||
|
shelf, lighting them with a tiny lighter.
|
|||
|
"It's true," he said. "It's true." He ached for her. His
|
|||
|
body trembled with the force of his lust.
|
|||
|
"How could it possibly be true?" she asked. "You hardly
|
|||
|
know me. I'm not just a nurse, you know. I have a life the
|
|||
|
rest of the time. You're confused, Dick. Things are not like
|
|||
|
they were. Maybe they never really were what you thought."
|
|||
|
"I don't understand. I just feel..."
|
|||
|
"That's right," she said. "But there's not really a lot
|
|||
|
for you to understand, right now. There's more things to
|
|||
|
forget. Just take a deep breath, Dick. That's right, feel your
|
|||
|
lungs expand. Just take another breath and you can relax.
|
|||
|
That's right. Take a breath... exhale... and you can just let
|
|||
|
go of what you think about this. Right. Breathe and let go of
|
|||
|
what you think of me. Breathe and let go of what you think of
|
|||
|
yourself..."
|
|||
|
Nixon began to feel a peaceful warmth, just floating
|
|||
|
there on the blankets.
|
|||
|
"Breathe and let go of everything behind you, everything
|
|||
|
in the past. You can let go of your mother and father. And let
|
|||
|
go of your friends and teachers. Let go of your career... Let
|
|||
|
go of being president... You can forget anything that
|
|||
|
happened. Breathe and let it go. That's right. And you can
|
|||
|
forget the future. Forget your plans, forget what you think
|
|||
|
may happen..."
|
|||
|
The room was somehow starting to seem different to Nixon.
|
|||
|
His vision seemed to narrow down to Marcia Bounty, everything
|
|||
|
else just fading away. There was a strange feeling in his
|
|||
|
chest.
|
|||
|
"You can forget it all," she said. "Forget it. It's just
|
|||
|
you and me, here, now."
|
|||
|
37. CONSECRATION 1
|
|||
|
|
|||
|
"I am uplifted in thy heart," Stu said, "and the kisses
|
|||
|
of the stars rain hard upon thy body!"
|
|||
|
He took a deep breath and exhaled forcefully, turning
|
|||
|
around to include the whole circle, the whole universe of the
|
|||
|
moment, in a broad gesture, the incense smoke swirling around
|
|||
|
with him.
|
|||
|
"I am uplifted in thy heart," said Diana, "and the kisses
|
|||
|
of the stars rain hard upon thy body!"
|
|||
|
She whirled with the smoke.
|
|||
|
38. CONSECRATION 2
|
|||
|
|
|||
|
Marcia poured champagne into the glasses and handed one
|
|||
|
to Nixon. He looked at it, then at her. She was smiling,
|
|||
|
beautiful, naked, radiant. Everything was quiet, except for
|
|||
|
the faint fizzing of the wine. He felt the warmth of the
|
|||
|
blankets beneath him.
|
|||
|
She held up her glass in a toast. "To us," she said. "To
|
|||
|
all we might do."
|
|||
|
The bubbles were electric in Nixon's mouth, soothing in
|
|||
|
his throat. He felt it run cool and comfortable into his
|
|||
|
abdomen. They sat in silence, sipping at the wine, smiling at
|
|||
|
each other.
|
|||
|
39. INVOCATION 1
|
|||
|
|
|||
|
Diana started a steady, droning beat on the drum.
|
|||
|
"Bahlasti!" Stu cried. "Ompehda!" He added more incense
|
|||
|
to the burner and a fresh cloud swirled upward, the
|
|||
|
candlelight flickering through it. "Before the infinite play
|
|||
|
of elements and ideas in which we participate, we declare that
|
|||
|
we are ones who have attained the knowledge and conversation
|
|||
|
of the Holy Guardian Angel. We are the Magickal Children of
|
|||
|
Nuit and Hadit who continue the work of our Will."
|
|||
|
Diana was dancing slowly with the drum, smoke and light
|
|||
|
trailing from her robe.
|
|||
|
"We invoke Tahuti," said Stu, "the Lord of Wisdom and of
|
|||
|
Utterance, the god that comes forth from the veil. O thou of
|
|||
|
the Ibis Head! I invoke thee with the words and actions that
|
|||
|
are your servants and your gifts, your clothing and your
|
|||
|
thoughts:
|
|||
|
"We see, we hear and we feel the way that your force in
|
|||
|
us binds words and memories to time. O master of Time!
|
|||
|
"We see, we hear and we feel your bound servants playing,
|
|||
|
combining and dividing like the elements of infinite space. In
|
|||
|
this play there is new knowledge and ancient arcana. In this
|
|||
|
play there is science and medicine. In this play there is
|
|||
|
reason and there is magick. O master of Magick!
|
|||
|
"As above, so below! said the ancients. We say Realtime
|
|||
|
and Memory. Macrocosm and microcosm, universe and human.
|
|||
|
"We are infused by your aspects, filled with your
|
|||
|
thoughts. We become pathways for your words, your memories."
|
|||
|
Stu picked up the tarot card and concentrated for a
|
|||
|
moment on the image: a figure floating in space, one arm up
|
|||
|
and one arm down, juggling a cup, a sword, a wand, a disk,
|
|||
|
symbols of the elements. Diana continued to drum and dance,
|
|||
|
her eyes closed now.
|
|||
|
"We know that we are in you," Stu continued, "and you are
|
|||
|
in us. You are in us!
|
|||
|
"I am Tahuti! I am Thoth!"
|
|||
|
He picked up the oracle printouts and, his voice matching
|
|||
|
the rhythm of the drum, read them again. He set them back on
|
|||
|
the altar, then moved to join Diana in the dance.
|
|||
|
40. INVOCATION 2
|
|||
|
|
|||
|
They lay together, relaxed, dreamily aroused. What had
|
|||
|
seemed a burning, all-consuming desire only a few minutes ago
|
|||
|
was now a comfortable, slow excitation. Marcia's hand ran
|
|||
|
lightly down the muscles of his back. His own hand explored
|
|||
|
the tightening skin of a nipple, the warm curve of a breast.
|
|||
|
Each movement, each sensation, seemed magnified, as if gentle
|
|||
|
currents of electric pleasure passed through them and between
|
|||
|
them. A concealed speaker somewhere in the room played
|
|||
|
wordless music with a slow, steady, sensuous beat. Candles
|
|||
|
flickered.
|
|||
|
"Mmmm," Nixon said. "Is it the O.Z.? I mean..."
|
|||
|
"The feelings?" Marcia asked. "The way things look
|
|||
|
brighter, sound clearer? The changes, the thoughts? Part is
|
|||
|
the O.Z., and part is the time and place."
|
|||
|
"I think," said Nixon, "I think I like it."
|
|||
|
"Mmmm," she said, "yes. It can be a powerful thing, you
|
|||
|
know. Making love like this."
|
|||
|
"Yes," he said.
|
|||
|
"In a way, it can make you realize some surprising things
|
|||
|
about yourself. It's like, here, now, you can just let the
|
|||
|
force of everything inside you and around you, here in this
|
|||
|
room, you can let it move you and do and be without thinking."
|
|||
|
Her hand moved over his buttock and around to stroke his
|
|||
|
thigh.
|
|||
|
"This space is safe, it's just you and me, and we have
|
|||
|
only the nicest intentions for each other. What is it that the
|
|||
|
life force in you wants to be, wants to do? I believe that
|
|||
|
when the life force flows strongest, you can learn from it,
|
|||
|
you can be pure life force, if just for a while. You can let
|
|||
|
it move you, you can remember that it is in you and you are in
|
|||
|
it. And you can learn about yourself, about where you're
|
|||
|
going. Where are you going, Dick? What do you will to be?"
|
|||
|
Her hand slid around his leg, along the shaft of his
|
|||
|
penis. Her thumb stroked the swollen head.
|
|||
|
"Mmmm," he said.
|
|||
|
41. ACTIVATION 1
|
|||
|
|
|||
|
Diana set the drum on the altar and pushed a button on
|
|||
|
the audio playback. Music came out, throbbing with a similar
|
|||
|
beat, but orchestrated, rich and full. Their robes slid to the
|
|||
|
floor. They held each other and danced, their bodies close,
|
|||
|
her breasts brushing against Stu's chest, his erect penis
|
|||
|
caressing the smooth skin of her abdomen. They danced like
|
|||
|
this for a while, feeling the touch of skin, seeing the
|
|||
|
candlelight flicker on their faces, hearing the gentle
|
|||
|
breathing and gasps against the rhythm of the music.
|
|||
|
After a time, the dance evolved into kissing, hands
|
|||
|
stroking smooth and sensitive skin. And later, they sank to
|
|||
|
the cushions which had been spread on the floor.
|
|||
|
Stu sat crosslegged and Diana faced him, lowering herself
|
|||
|
softly onto his phallus. A simultaneous gasp as it slipped
|
|||
|
inside; a long, deep kiss, and they were moving together in
|
|||
|
slow-motion love.
|
|||
|
They were there like that, moving slowly, for over an
|
|||
|
hour, allowing the yearning, the desire for release, to build,
|
|||
|
then slowing down again, resting briefly, the cycle repeating
|
|||
|
again and again. But then the tension, the pressure, was
|
|||
|
becoming irresistible. Slow motion was becoming impossible.
|
|||
|
Stu reached onto the altar and found the disk. He held it
|
|||
|
before their faces and they snorted the lines of Batch 31.
|
|||
|
They kissed and allowed themselves to move as their bodies
|
|||
|
willed to move.
|
|||
|
42. ACTIVATION 2
|
|||
|
|
|||
|
Nixon was so comfortable, so involved with the sensations
|
|||
|
of aroused bodies, that he thought nothing of it when Marcia
|
|||
|
passed a hand-rolled cigarette to him. He watched the smoke
|
|||
|
swirl upwards for a moment, then took it from her.
|
|||
|
"Fill your lungs with it," she said. "Hold it in."
|
|||
|
He complied. The taste was pleasant, sweet and pungent.
|
|||
|
He held it in for a long moment, then let it out in a
|
|||
|
whooshing cloud. They smoked together for a while, touching,
|
|||
|
stroking, smoking. It felt like the right thing to do.
|
|||
|
Marcia mounted him, and Nixon's pelvis instinctively
|
|||
|
matched her leisurely rhythm. He allowed his hands to caress
|
|||
|
her stomach, her ribs, her breasts. A powerful sensation, like
|
|||
|
light that he could feel, seemed to spread from his cock,
|
|||
|
through his hips, his belly, his chest, his limbs, his head.
|
|||
|
Another force seemed to be spreading from his head downward.
|
|||
|
If the force from his loins was pure white light, the
|
|||
|
sensation from his head felt like rainbows, bursts of colors
|
|||
|
riding champagne bubbles through his body.
|
|||
|
It all washed through him, these strange energies, the
|
|||
|
sliding, persistent motion of Marcia's vagina, exciting him
|
|||
|
even more. He felt urgency in his cock, and tried to speed the
|
|||
|
rhythm, but Marcia held him back, slowing her rhythm even
|
|||
|
more. A moment and he was able to relax to the slow rhythm
|
|||
|
again.
|
|||
|
And again, the urgency seemed to build, he wanted to
|
|||
|
orgasm, to burst his whole being into Marcia, but she pulled
|
|||
|
back, leaving him gasping until he had relaxed again.
|
|||
|
Again and again, she took him to the brink of orgasm,
|
|||
|
then held back, again and again. Their bodies were trembling
|
|||
|
with withheld tension. And then they both knew it was time.
|
|||
|
There was nothing they could do to stop it.
|
|||
|
A thought entered Nixon's head: What do I will to do?
|
|||
|
His body swept conscious thought away as it moved with
|
|||
|
the life force.
|
|||
|
43. DIANA
|
|||
|
|
|||
|
As the waves of orgasm washed through her, Diana began to
|
|||
|
feel something along the edges of consciousness, a dissolving
|
|||
|
of boundaries, a molecular melding with everything around her.
|
|||
|
She was aware of Stu embracing her, of the spasms of his body.
|
|||
|
His penis seemed to be ejaculating warm fire, which glowed and
|
|||
|
spread through her vagina, her abdomen, her entire body and
|
|||
|
mind.
|
|||
|
She and Stu were one thing, not merely joined but
|
|||
|
commingled and the awareness that they always had synergy like
|
|||
|
this penis. Perhaps we can synthesis vagina for I am divided
|
|||
|
some on Earth. Unassuaged of purpose of the stars is every way
|
|||
|
perfect, for the chance train and more elsewhere. This is the
|
|||
|
sperm, but he is something more for pure will.
|
|||
|
A planetary surface, desert gleaming bright in sunlight.
|
|||
|
Can you president o magickal child talk to you understand? Of
|
|||
|
the flow that pain of division is as nothing of union and the
|
|||
|
joy of the source of O.Z. To me that is you dissolution all.
|
|||
|
Glittering white cylinders, the planet rich and blue
|
|||
|
beyond, dandelion seed-head of a trailer park. Spasm delivered
|
|||
|
from lust of result, Winnebago, Palmer is part creation and
|
|||
|
two for love's sake. Engulf Nicholas. BRING US TOGETHER more
|
|||
|
unconsciously. A huge machine against the stars, at once
|
|||
|
ancient and new.
|
|||
|
A voice, pleasant, English with an accent. The touch of
|
|||
|
flesh. A dissected spin drive, magnets rotating, the lines of
|
|||
|
force visible, disappearing into a place where you'll find
|
|||
|
some of the answers. Freedom. Nixon is the life force union
|
|||
|
egg of union of the world seek me only faint & faery release.
|
|||
|
Blood spilled for freedom.
|
|||
|
There must be conflict before resolution, some are
|
|||
|
heavier than others, but all are the same. The mind of Earth
|
|||
|
wants flowers, the mind of infinite nothingness wants all.
|
|||
|
44. MARCIA
|
|||
|
|
|||
|
Careful concentration, difficult during orgasm, but
|
|||
|
training pays off. Yehovah eloa ve daath. For Dick too. It was
|
|||
|
strong, energy high and pure in this place of working.
|
|||
|
Pleasure, yes, oh yes, but that was not all. Match breathing.
|
|||
|
The heart. Direction. The movement of the infinitesimal point
|
|||
|
through infinite space. Yehovah eloa ve daath. For Dick too.
|
|||
|
The heart, glowing and radiant, the confluence of Nuit
|
|||
|
and Hadit, the heart, life force from the Earth, life force
|
|||
|
from space, the heart BRING US TOGETHER. A break in
|
|||
|
concentration. Bring us together. Meaning?
|
|||
|
The heart. Hearts merging. Concentration. Breathing.
|
|||
|
Ovoid patterns of life force becoming superimposed. Hearts as
|
|||
|
one, flowing with arterial spurts, life force flowing
|
|||
|
together.
|
|||
|
She was diffuse, though being defined; he was definition,
|
|||
|
though diffusing. Hearts merging. Merged. Static. Breathing.
|
|||
|
45. STU
|
|||
|
|
|||
|
As pelvic muscles contracted for first spasm, they are
|
|||
|
waiting. Rotating magnets when you exceed. What is it inner
|
|||
|
sanctum nurse union spasm vagina that I will is every way
|
|||
|
perfect.
|
|||
|
And a voice said, "information."
|
|||
|
Yes, Stu thought, information. What is going on? How did
|
|||
|
I get so intrigued with Nixon?
|
|||
|
"Information," the voice said, "is valuable only in
|
|||
|
relation to its usefulness."
|
|||
|
A truism, Stu thought. So what?
|
|||
|
"Palmer like this," it said, "BRING US TOGETHER. Exceed
|
|||
|
force and fire. There is a dancing god who is my friend. Do
|
|||
|
not fear the locomotive, for example, is meaningless now,
|
|||
|
useful later. How can you use it?"
|
|||
|
What can I understand now? Stu thought.
|
|||
|
"Only this," said the voice. "You've become complacent.
|
|||
|
Seek to further follow the trajectory which you are. Take the
|
|||
|
next step.
|
|||
|
"And more before I go: Nixon is now with you in love's
|
|||
|
embrace. The shit you of and two. This is for pure will
|
|||
|
pyramid realize be revealed. Penis putrescence bounty of
|
|||
|
result. For you Nuit. Plastic domes filled with greenery,
|
|||
|
behind them, reddish sand to the horizon. The can drug release
|
|||
|
yourself. Apply of to do initiation: the corpse in the
|
|||
|
pyramid. For the chance computer president. Spin drive
|
|||
|
unassuaged of purpose into the fray. Marcia delivered from
|
|||
|
lust. Division colony it can only that pain. Locomotive the
|
|||
|
blind ones, seek only save only."
|
|||
|
And relaxation of muscles after the last ejaculation.
|
|||
|
Tahuti? Diana? Me? Which? Oh, yes, here I am.
|
|||
|
50. NIXON
|
|||
|
|
|||
|
His body spending itself into Marcia Bounty, everything
|
|||
|
seemed to dissolve in brownian movement of white flickering
|
|||
|
raw thought energy swirling eddy I sparkles the light sex
|
|||
|
life. Nixon dissolved, Marcia dissolved, America dissolved,
|
|||
|
but three words remained in his heart:
|
|||
|
Bring us together.
|
|||
|
51. STU AND DIANA
|
|||
|
|
|||
|
Grinning broadly at each other, Stu and Diana gently
|
|||
|
untangled their bodies.
|
|||
|
"Wow," said Diana. "That was good!"
|
|||
|
"Mmmm," said Stu. "Yeah. What were you thinking about?"
|
|||
|
"I kept seeing spin drives," Diana said. "Real-looking
|
|||
|
ones and ones that were like animated blueprints. And Nicholas
|
|||
|
Palmer, too. Only he looked strange, not like his pictures,
|
|||
|
distorted somehow."
|
|||
|
"I had a little of that, too," said Stu. "I heard a
|
|||
|
voice. It spoke with me. It definitely mentioned spin drives,
|
|||
|
and a lot of other things. And it said I was too complacent."
|
|||
|
"You?"
|
|||
|
"Well, maybe..."
|
|||
|
"I think I know where to look," Diana said.
|
|||
|
"Look for what?"
|
|||
|
"For the answers. Whatever we were trying to learn when
|
|||
|
we did this."
|
|||
|
"Uh-huh. Where?"
|
|||
|
"It has to do with the spin drive. How does it work? Do
|
|||
|
you know, Stu?"
|
|||
|
"No, not fully. Ask a mechanic."
|
|||
|
"Hmmm."
|
|||
|
"I think I know what it was talking about," Stu said.
|
|||
|
"Who? What? About what?"
|
|||
|
"About me being complacent. It is time I moved on. I've
|
|||
|
been doing a lot of work, I know. An awful lot. But it's been
|
|||
|
the same thing for a while now. It must be time..."
|
|||
|
"It must be time to go to work." Diana stretched and
|
|||
|
stood up. "Where are the showers in this place?"
|
|||
|
52. DICK AND MARCIA
|
|||
|
|
|||
|
Marcia kissed Nixon gently, and then slid over so that
|
|||
|
they lay side to side.
|
|||
|
"It's been a long time," Nixon said, "but I don't ever
|
|||
|
remember it being like that! O.Z. has... changed me."
|
|||
|
"There's that," Marcia said, "and also, you know, medical
|
|||
|
training can give some advantages." She buffed her fingernails
|
|||
|
on an imaginary shirt and grinned.
|
|||
|
"Damn!" he commented. "Damn."
|
|||
|
"What were you thinking about when you came?"
|
|||
|
"Huh?"
|
|||
|
"I forget. You've missed out on a few years. It's like...
|
|||
|
'a penny for your thoughts.' What were you thinking about?"
|
|||
|
"Was I thinking? It was all so <20> different, I just kind
|
|||
|
of got swept away with it... Well, there was something. It
|
|||
|
wasn't much."
|
|||
|
"What? Some words?"
|
|||
|
"Yes. 'Bring us together.'"
|
|||
|
"What does that mean?"
|
|||
|
"Not much, I suppose. In 1968 it was my campaign slogan.
|
|||
|
It was an important thing, then. Americans were growing apart
|
|||
|
from each other. Rural Americans from big city Americans.
|
|||
|
Republicans from other Republicans. I was giving a campaign
|
|||
|
speech in the town of Deshler, Ohio. In the crowd I saw a
|
|||
|
little girl who was holding up a sign that said, 'Bring us
|
|||
|
together'. It was a good slogan."
|
|||
|
"I guess it was."
|
|||
|
"Yes. Uh, Marcia? What were you thinking when you, er,
|
|||
|
came?"
|
|||
|
"I was thinking how nice it was to bring us together."
|
|||
|
53. DIANA AND STU AT WORK
|
|||
|
|
|||
|
As they made their way through the crowd to the platform
|
|||
|
at the center of the hall, Arc residents greeted them with
|
|||
|
hugs, handshakes and smiles. Stu adjusted a knob on the small
|
|||
|
unit which hung around his neck on a twisted length of hemp
|
|||
|
cloth, and the house lights began to dim. Diana punched a
|
|||
|
button on her unit and a susurration began to swell from the
|
|||
|
sound system, like gentle breathing, or waves on the beach.
|
|||
|
There was a scattering of applause, then the crowd became
|
|||
|
silent. Diana allowed the volume to increase steadily until
|
|||
|
they reached the stage.
|
|||
|
Diana, Stu, Alec, Essence and Tim climbed onto the
|
|||
|
platform and took their places by their instruments. Essence
|
|||
|
picked up a slim electronic bass and flipped a switch on a
|
|||
|
small computer. Tim took his place behind a battery of congas,
|
|||
|
checking the readiness of the several electronic percussion
|
|||
|
devices that were racked next to him. Alec picked up an
|
|||
|
ancient and battered electric guitar. Diana intently checked
|
|||
|
her stack of playback devices and the computer which
|
|||
|
controlled them. Stu stood in the center and adjusted
|
|||
|
something on his control unit.
|
|||
|
Lights mounted around the central stage began to flicker,
|
|||
|
dim at first, then brighter, an effect not unlike the
|
|||
|
flickering of a spin drive readout.
|
|||
|
Diana began to speak, her voice sweet and airy, blending
|
|||
|
in, then rising out of the susurrus:
|
|||
|
|
|||
|
There are four gates to one palace; the floor
|
|||
|
of that palace is of silver and gold; lapis lazuli
|
|||
|
& jasper are there; and all rare scents; jasmine
|
|||
|
and rose, and the emblems of death. Let him enter
|
|||
|
in turn or at once the four gates; let him stand on
|
|||
|
the floor of the palace. Will he not sink? Amn. Ho!
|
|||
|
warrior, if thy servant sink? But there are means
|
|||
|
and means. Be goodly therefore: dress ye all in
|
|||
|
fine apparel: eat rich food and drink sweet wines
|
|||
|
and wines that foam! Also take your fill and will
|
|||
|
of love as ye will, where and with whom ye will.
|
|||
|
But always unto me.
|
|||
|
|
|||
|
There were whistles and cheers throughout the hall.
|
|||
|
Tim began a rhythm on the congas, then supplemented it
|
|||
|
with an electronic pulse that matched the flashing of the
|
|||
|
lights. Essence began to weave a spare bass line around the
|
|||
|
drums, and Alec caused a light rain of notes to drip from his
|
|||
|
guitar. The music swelled, became lush Diana's sampled sounds.
|
|||
|
More cheering, and some began to dance.
|
|||
|
Stu adjusted the lights and suddenly it seemed that
|
|||
|
whirling geometric shapes flew from the walls, from the
|
|||
|
floors, spinning and wafting with the haze of ganja smoke.
|
|||
|
More and more of the crowd were dancing, smiling, laughing.
|
|||
|
Alec stomped on a pedal and released a soaring, distorted
|
|||
|
wail which slid up on top of the rhythm, then rolled down to
|
|||
|
scratch the itchy underbelly of a melody. Another slight
|
|||
|
adjustment of the lights, and the walls yielded up vistas of
|
|||
|
jewel-bright planet-scapes, distant glittering cities, vast
|
|||
|
space structures.
|
|||
|
Stu smiled and sang:
|
|||
|
Feet in contact with the ground
|
|||
|
Gazing at the sky
|
|||
|
The heavens spinning round and round
|
|||
|
Human fire within the sound
|
|||
|
Plants that reach into the light
|
|||
|
The ground the sound the taste the sight
|
|||
|
Hold me let me go
|
|||
|
A spark that arcs into the night
|
|||
|
Hold me turn around
|
|||
|
|
|||
|
Essence was up front now, the thick sound of her bass now
|
|||
|
like giants dancing, now like massed machinery. Stu spoke the
|
|||
|
next part, his voice calm and conversational, letting the
|
|||
|
words flow over the dense sound.
|
|||
|
|
|||
|
When I was very small I used to spin around
|
|||
|
and fall upon the lawn. The ground would rise up
|
|||
|
and tilt and I knew then that I was happy while
|
|||
|
everything around me changed. My friends and I
|
|||
|
would laugh and we'd do it again. And when I was
|
|||
|
older I learned about ganja, and sex, and
|
|||
|
rock'n'roll. And I danced and whirled with my
|
|||
|
friends like dervishes, like ancient shaman-
|
|||
|
children before the fire of human youth.
|
|||
|
|
|||
|
The band jammed mightily for a minute, then brought Stu
|
|||
|
back to the song.
|
|||
|
|
|||
|
Welcome to the world where up is down
|
|||
|
Dancing children free
|
|||
|
Equally sharing nature's crown
|
|||
|
Human heartbeat in the sound
|
|||
|
Plants that reach into the light
|
|||
|
The ground the sound the shifting thoughts
|
|||
|
Hold on let it go
|
|||
|
An Arc that sparks into the night
|
|||
|
Live so it can grow
|
|||
|
|
|||
|
And the party went on until morning.
|
|||
|
54. MORNING AT THE WHITE HOUSE
|
|||
|
|
|||
|
"What if someone sees us arriving together?" Nixon asked
|
|||
|
as the bubble car approached the White House.
|
|||
|
Nurse Bounty shrugged. "I don't care."
|
|||
|
"No," said Nixon, "you wouldn't." He frowned and rubbed
|
|||
|
the thick stubble which had appeared on his face during the
|
|||
|
night. This may all have been a big mistake, he thought. What
|
|||
|
if any of this leaked to the press? Scandal in the White
|
|||
|
House. No! Not again. Not again.
|
|||
|
"Listen, Mr. President," Marcia said, "I work here too.
|
|||
|
I am your nurse. You just recovered from a long illness. You
|
|||
|
almost died. It is certainly appropriate that medical
|
|||
|
personnel accompany you if you are away from the White House
|
|||
|
for any reason. Don't sweat it."
|
|||
|
"All right. All right." Nixon continued to frown.
|
|||
|
Smiling, she steered the car up to the curb with one hand
|
|||
|
and gave Nixon's thigh a gentle squeeze with the other.
|
|||
|
"Stop that!" said Nixon. "Stop."
|
|||
|
"Of course," she said. "We're here."
|
|||
|
They unlocked the door and entered the big, empty
|
|||
|
building. Nixon went up to the bedroom, shaved and showered.
|
|||
|
He searched through closets and found one of his old suits. It
|
|||
|
hung limply from his thin body, but it wasn't hemp. It was
|
|||
|
good, old, Earth-type fabric from a time when things were
|
|||
|
easier to understand.
|
|||
|
He went to the Oval Office and found Nurse Bounty seated
|
|||
|
on the edge of the desk. She smiled at him, taking in the
|
|||
|
clothing from head to toe.
|
|||
|
"I found an old suit," Nixon said.
|
|||
|
Marcia said nothing. She rubbed her breasts. She began to
|
|||
|
unbutton her uniform.
|
|||
|
"This is the presidential office," he said.
|
|||
|
She slid off the desk and moved toward him. Nixon did not
|
|||
|
come toward her, but he did not move away, either. Squirming
|
|||
|
out of her uniform, Marcia pressed against him.
|
|||
|
"I have duties to perform," Nixon protested.
|
|||
|
She kissed him, hot, slow and passionate. He responded,
|
|||
|
total rush of hormones, pheromones and phenethylamines. He
|
|||
|
held her, stroked her, kissed deeply. Her hands slid down his
|
|||
|
chest, toward his belt. The belt came loose, then buttons and
|
|||
|
zipper, then the old, baggy trousers fell to the floor.
|
|||
|
There was a knock at the door.
|
|||
|
Nixon pushed Marcia from him and whirled around. There,
|
|||
|
in the open doorway, stood a young man whose jeans and cowboy
|
|||
|
boots seemed vaguely familiar.
|
|||
|
The young man kept a poker face. "Excuse me," he said,
|
|||
|
turning away from the indiscretion.
|
|||
|
Nixon hastily pulled up his pants, while Marcia very
|
|||
|
calmly replaced her uniform.
|
|||
|
Nixon cleared his throat. "Uh, that will be all, Nurse,"
|
|||
|
he said.
|
|||
|
Now looking quite crisp and professional, Marcia strode
|
|||
|
from the room, smiling at the young man as she passed him in
|
|||
|
the doorway.
|
|||
|
Still impassive, the man turned and came into the room.
|
|||
|
Nixon wiped a sweaty palm on his suit jacket, then
|
|||
|
offered his hand to the man. "I'm very, um, pleased to meet
|
|||
|
you," he stammered as they shook. "What can I do for you? I
|
|||
|
can explain... She's a nurse... medical personnel... I, uh..."
|
|||
|
"It's no problem, Mr. President. What you do in your
|
|||
|
personal life, however outrageous or disgusting, is your own
|
|||
|
business. I believe that we do have some mutual business,
|
|||
|
though. I am Neal Severant."
|
|||
|
"Ah, yes," said Nixon. "From the video. Yes. A good
|
|||
|
American."
|
|||
|
"Yes, sir."
|
|||
|
"What can I do for you? Can I offer you some coffee? A
|
|||
|
drink? Would you like a drink? Nurse! Nurse!"
|
|||
|
Marcia was not in evidence.
|
|||
|
"Damn," said Nixon. "Where is she? She should get us some
|
|||
|
coffee. I could sure use a cup. Do you smoke?"
|
|||
|
"No, sir. Of course not."
|
|||
|
"Nurse!"
|
|||
|
"It's okay, Mr. President. I don't need any coffee. I
|
|||
|
just need to speak with you."
|
|||
|
"Well, then. Well. Please. Have a seat." Nixon sat in his
|
|||
|
big chair. Being behind the imposing desk relaxed him a bit;
|
|||
|
he felt a bit more in control. "You know," he said, as
|
|||
|
Severant pulled a chair closer to the desk, "I meant to thank
|
|||
|
you folks for your kind welcome. It's good to know that there
|
|||
|
are some real Americans left."
|
|||
|
"It was nothing. I must say, Mr. President, you appear
|
|||
|
younger than I expected."
|
|||
|
"Hmmm," said Nixon, "yes. The medical staff was able to
|
|||
|
effect a kind of rejuvenation."
|
|||
|
"Yes," said Severant. "These doctors were spacers,
|
|||
|
perhaps?"
|
|||
|
"I'm not very clear on that," Nixon muttered. "I was
|
|||
|
unconscious when the actual treatment was performed."
|
|||
|
"Of course. I was just wondering who made the actual
|
|||
|
decision."
|
|||
|
"I'm afraid that I'm still trying to sort things out
|
|||
|
myself." Nixon began to bristle. "But I'm sure there was
|
|||
|
nothing improper about it, if that's what you're implying.
|
|||
|
Saving the life of an ailing president seems to be quite a
|
|||
|
patriotic act. Or at least the, um, Hippocratic oath..."
|
|||
|
"Certainly, Mr. President. I'm just curious. I mean no
|
|||
|
offense. I'd like to shake the man's hand <20> whoever. I believe
|
|||
|
that a renewed presidency offers a great opportunity for
|
|||
|
America. I'm here to help, Mr. President. I'm here to offer
|
|||
|
whatever help I can."
|
|||
|
"Oh. Well, thank you. Thank you. Are you sure you
|
|||
|
wouldn't care for some coffee? Nurse!"
|
|||
|
"No, really. No, thank you. Let me explain the way that
|
|||
|
I can help."
|
|||
|
"Certainly."
|
|||
|
"For the past five or six years, Clinton Oestrike,
|
|||
|
Henrietta Groote, and myself have been working to consolidate
|
|||
|
what's left of America. Clint and Henrietta came out of the
|
|||
|
Great Collapse with a bit more than other folks. They both
|
|||
|
inherited fairly sizable fortunes, and were able to
|
|||
|
consolidate that even more, by buying up failing businesses of
|
|||
|
various kinds. In a sense, it is through their work alone that
|
|||
|
any portion of the economy survived at all. They kept American
|
|||
|
industry alive, they keep jobs for millions of Americans, they
|
|||
|
keep hope alive through the bad times."
|
|||
|
"Ah," Nixon observed, "good American industrialists. And
|
|||
|
what is your part in this?"
|
|||
|
"Public relations, sir. I am a strategist of sorts. I
|
|||
|
hope to restore the traditional connection between American
|
|||
|
government and industry."
|
|||
|
"Hmmmm. As far as I've been able to determine, there is
|
|||
|
no American government."
|
|||
|
"Rather, what there is of it <20> what is here <20> is just a
|
|||
|
diversionary tactic."
|
|||
|
Nixon pondered. "Explain that," he said.
|
|||
|
"Yes, sir. Someone who remains unknown to us at this time
|
|||
|
<20> and to you, apparently <20> had you re-elected simply to
|
|||
|
appease the populace. That is, by installing an empty,
|
|||
|
figurehead government, it will fill the hope of America for
|
|||
|
renewed leadership, and keep us from having any kind of real
|
|||
|
organization. And meanwhile the spacers move in, steal our
|
|||
|
industry, and take whatever they want from the planet."
|
|||
|
"Ah," Nixon observed, "the spacers."
|
|||
|
"Yes, sir. What I can't figure out, though, is why they
|
|||
|
restored you to consciousness, why they rejuvenated you."
|
|||
|
"I would have died," the president said.
|
|||
|
"Yes. I suppose they figured that they needed you. If you
|
|||
|
had died, who else could they have chosen as a figurehead?"
|
|||
|
"I must say that I don't know."
|
|||
|
"Anyway, Mr. President, now that you're back with us,
|
|||
|
have you considered the possibility of actually restoring the
|
|||
|
U.S. government?"
|
|||
|
"Of course I have. It would be the only patriotic course.
|
|||
|
I believe it is the right thing to do."
|
|||
|
"Have you made any progress yet?"
|
|||
|
"Yes. I have made my first cabinet appointment."
|
|||
|
"Who, Mr. President?"
|
|||
|
"You, Mr. Severant."
|
|||
|
55. RICH TAPESTRIES PRESIDENT
|
|||
|
|
|||
|
Two words had lodged in Primordial Stu's head: It's Time.
|
|||
|
The words flashed and spun around and bred an incredible
|
|||
|
amount of associations and secondary thoughts.
|
|||
|
It's time that I drop everything, Stu thought, and took
|
|||
|
the next step. Does this mean following up on my initiation?
|
|||
|
Is it really my will to be a Magickal Child? I think so. I
|
|||
|
think so, but it will mean leaving the band, at least for a
|
|||
|
while. It will mean leaving Diana, at least for a while. And
|
|||
|
this obsession with Nixon? I must drop that. Who is he to me?
|
|||
|
What is Earth politics, as inconsequential as it is, to me?
|
|||
|
Yes, it's time. I will do it. I will contact them immediately.
|
|||
|
He stood, brushing lunar soil from his clothes. Around
|
|||
|
him, leaves of moon weed waved gently in a recirculation
|
|||
|
stream. The sun felt warm on his face, even filtered through
|
|||
|
a plastic bubble and a mellow, lunar spin-field. Stu took a
|
|||
|
deep breath. The plants were beginning to smell sweet.
|
|||
|
I will come back here, he thought. One day, I will return
|
|||
|
to the Moon. But now, it's time.
|
|||
|
He took his headset from the pouch which hung at his belt
|
|||
|
and plugged it into the net access which sprouted like a
|
|||
|
small, metal mushroom from the dark soil, provided for the
|
|||
|
farmers, geneticists, ecologists, biochemists and other
|
|||
|
researchers who worked with the crop. He went through
|
|||
|
cyberspace to the simulated lounge that provided a context for
|
|||
|
his files. He called up the oracle program.
|
|||
|
Here, in full cyberspace, the oracle included visual and
|
|||
|
additional auditory information along with the words. It also
|
|||
|
ranged randomly through a larger system than that contained in
|
|||
|
the bus's Macintosh, the sum total of Stu's personal files
|
|||
|
plus a few select public-domain files, to draw it's elements.
|
|||
|
Stu took a breath and ran the program.
|
|||
|
|
|||
|
Now more than a memory rich tapestries president.
|
|||
|
What would it be? Five years old worm to school us
|
|||
|
one heck of us initiation. Scandal in the White
|
|||
|
House and going had strong but they pounded in
|
|||
|
breaks for the first re-election. He had heard a
|
|||
|
drug household finances. Bring President Nixon.
|
|||
|
Chains around magickal child soon they would hung
|
|||
|
all around together. Child-Horus, time unto the
|
|||
|
light a great president watergate. The begetter and
|
|||
|
manifester with the memory of a dark room. Heat
|
|||
|
leaped the drumbeat. Seek the King. Ever his ankles
|
|||
|
anticipation and fear initiation. Locomotive I am
|
|||
|
he, Nixon pyramid magick. Call for him. Nixon and
|
|||
|
his heart pounded, his chest of being wrongdoing
|
|||
|
breaks breaks.
|
|||
|
|
|||
|
Stu cleared his display and sat quietly in a blank
|
|||
|
cybervoid, allowing the onslaught of information to be
|
|||
|
assimilated by his unconscious mind.
|
|||
|
Plenty of mention, he thought, of both initiation and
|
|||
|
Nixon... and breaks... How are these things related? How to
|
|||
|
find out?
|
|||
|
56. INSUFFICIENT DATA
|
|||
|
|
|||
|
The cavern into which Diana walked was somewhat surreal.
|
|||
|
The walls, of lunar rock and concrete, had been sprayed with
|
|||
|
a thick layer of hemp oil plastic. The plastic sealant had
|
|||
|
been dyed pale blue, and the lighting was bright and diffuse,
|
|||
|
producing an effect of expansiveness. Two operating spin
|
|||
|
drives within the high-vaulted room gave everything a gentle
|
|||
|
flickering effect.One of these active drives was that of the
|
|||
|
old school bus, which was in the lunar garage for tests and
|
|||
|
maintenance.
|
|||
|
In the driver's seat of the bus, Diana found a short,
|
|||
|
muscular, dark haired man who was gazing intently at the
|
|||
|
flickering display on the old Mac. A smaller, more modern
|
|||
|
computer sat on his lap, a strand of cable linking the two
|
|||
|
machines. He looked up at Diana, smiled, and then tapped a
|
|||
|
key, instantly shutting down the drive.
|
|||
|
"Hi there," he said. "Hop on board!"
|
|||
|
Diana jumped up the steps and squatted on the carpet next
|
|||
|
to the driver's seat. "Hey, Jim," she said.
|
|||
|
"Let me guess," Jim grinned. "You came to pay me
|
|||
|
personally, with the sweetness of your kisses."
|
|||
|
"That's not a payment," Diana smiled back. "It's more
|
|||
|
like a fringe benefit." She leaned over and gave him a brief
|
|||
|
kiss.
|
|||
|
"That's what I like," Jim said, "a job with benefits."
|
|||
|
"Actually, Jim, I need your expertise in another area."
|
|||
|
"Okay."
|
|||
|
"How does this thing work? Can you explain it to me? I've
|
|||
|
got some math. I think I can pick it up."
|
|||
|
"You want me to explain the single most important
|
|||
|
invention of our time while standing on one leg?"
|
|||
|
"Yeah," Diana said. "Something like that."
|
|||
|
"Okay. Actually it's pretty simple. Come on outside. I'll
|
|||
|
show you."
|
|||
|
Jim unbolted a side panel and showed Diana a space
|
|||
|
beneath the floor which once housed the drive shaft. There was
|
|||
|
now another kind of shaft, shiny, polished and fitted with six
|
|||
|
large, grooved rings. At one end was an electric motor about
|
|||
|
six inches long.
|
|||
|
"Real simple," Jim said. "The motor turns the
|
|||
|
electromagnets which rotate in opposite directions. The
|
|||
|
counter-rotating magnetic fields synergize to produce a field
|
|||
|
that is impervious to many different materials, and which can
|
|||
|
be influenced to move in a particular direction. As you know,
|
|||
|
that's done through a computer model of the field. That's
|
|||
|
really where the math comes in, defining the exact shape and
|
|||
|
motion of the spin field. It depends on the position and speed
|
|||
|
of the magnets."
|
|||
|
"Yeah," said Diana, "I understand that. I think what I
|
|||
|
want to know is, what is it about the magnets that make the
|
|||
|
field form? How is that related to gravity?"
|
|||
|
"Ooch." Jim looked wounded. "The tough questions. Do you
|
|||
|
have a good background in theoretical physics?"
|
|||
|
"Well, just what I've picked up from the vid, really."
|
|||
|
"Yeah, me too. I know how to control it, how to build it,
|
|||
|
how to do any damn thing with it. But I'm not a physicist, you
|
|||
|
know. Does an automobile mechanic ever really understand what
|
|||
|
causes petroleum vapors to explode? The chemistry of it, on a
|
|||
|
molecular or atomic level, I mean."
|
|||
|
"No, I guess not."
|
|||
|
"Okay, thunderthighs, back on the bus. I'll show you some
|
|||
|
more."
|
|||
|
"Thunderthighs!? I don't have any thunderthighs."
|
|||
|
"Well, if you'd just pull that skirt up a little, I could
|
|||
|
see for myself. Ah, yes, thank you. I apologize deeply."
|
|||
|
Back on board, Jim tapped a brief command into the Mac
|
|||
|
and the screen filled with computer code.
|
|||
|
"This is a variation on Palmer's original program, which
|
|||
|
was written on Macintosh. That's why you still use this
|
|||
|
archaic thing <20> it requires the least adaptation from what
|
|||
|
Palmer wrote. It's difficult to adapt for other machines,
|
|||
|
simply because nobody understands it too well. I've got a
|
|||
|
pretty good idea of what does what, in terms of what changes
|
|||
|
it will cause in the spin of the magnets, or in the direction
|
|||
|
and speed of the car, but I can't for the life of me imagine
|
|||
|
how Nicholas Palmer arrived at any of this. From the point of
|
|||
|
view of traditional programming <20> the kind you or I do every
|
|||
|
day <20> this is total chaos. But it works. We can use it, and we
|
|||
|
do."
|
|||
|
"This doesn't help me very much," Diana said.
|
|||
|
"Oh well. Perhaps I can compensate another way?"
|
|||
|
"Hmmm. I could go for a little compensation..."
|
|||
|
57. THE NEW ECONOMY
|
|||
|
|
|||
|
Nixon was back in cyberspace, seated behind the big,
|
|||
|
cartoon desk.
|
|||
|
"Martha," he said, to no one in particular. "Where is
|
|||
|
Martha?"
|
|||
|
A snap and she appeared. "Hi, Dick," she said.
|
|||
|
"Martha... Are you Martha or are you... prerecorded?"
|
|||
|
"I'm Martha. I'm realtime, but I know everything that we
|
|||
|
talked about, the last time."
|
|||
|
"That's great," Nixon said. "That's really great." What
|
|||
|
do I say? he thought. I want to tell her that... I want her to
|
|||
|
know... But then what about Nurse Bounty? "It was a pleasure
|
|||
|
meeting your, uh, simulation."
|
|||
|
"Thank you. I enjoyed the playback, as well. So, what
|
|||
|
will it be today, Dick?"
|
|||
|
"Um, yes. I need information. How do I find out about
|
|||
|
spacers?"
|
|||
|
"That depends. Do you have any particular spacers in
|
|||
|
mind?"
|
|||
|
"No, I guess not. I need more of a general <20> stuff about
|
|||
|
economics, policy, government... How does one...?"
|
|||
|
"Well, there's two ways. First we can look in the records
|
|||
|
of the Earth Cybernet. If you need more than that, we can go
|
|||
|
right to the System net."
|
|||
|
"The System net?"
|
|||
|
"Yes, the space cybernet. We're here inside Earth
|
|||
|
cyberspace, so you might as well just ask questions. We'll see
|
|||
|
where they get us."
|
|||
|
"Okay. Computer, explain the balance of trade between
|
|||
|
America and outer space."
|
|||
|
"Combined goods imported to the United States of America
|
|||
|
from extraterrestrial origins exceeds the amount of American
|
|||
|
goods exported to extraterrestrial destinations by a ratio of
|
|||
|
approximately two to one, based on currently accepted dollar
|
|||
|
value," the computer said.
|
|||
|
"What are the current monetary standards, both on Earth
|
|||
|
and in space?" Nixon asked.
|
|||
|
"The dollar is the currently accepted unit in America and
|
|||
|
much of the world, but it's value is largely arbitrary, by
|
|||
|
consensus, without basis in metal, fuel or other commodity.
|
|||
|
"Extraterrestrial commerce is frequently transacted using
|
|||
|
the hemp dollar, or 'kilobuck', the value of which is based on
|
|||
|
a unit for measuring the amount of energy derived from the
|
|||
|
combustion of one kilogram of dried, unprocessed hemp.
|
|||
|
Frequently, actual plant material is used, the exchange rate
|
|||
|
varying slightly depending on percentage of fiber, oil, or
|
|||
|
psychoactive components.
|
|||
|
"Both on Earth and in space, barter is a frequent means
|
|||
|
of transaction."
|
|||
|
"Hmmm," Nixon said. "What's the main import from space to
|
|||
|
Earth?"
|
|||
|
"The main import to Earth from space is energy."
|
|||
|
"Solar? Nuclear? What is it?"
|
|||
|
"Solar energy stored in plant material. Cannabis
|
|||
|
varieties and concentrated fuels made from cannabis."
|
|||
|
Nixon uttered an expletive. "Drugs are energy? The damned
|
|||
|
spacers control the energy supply?"
|
|||
|
"The answer to the first question," the computer said,
|
|||
|
"is no, but both drugs and energy may be derived from several
|
|||
|
plant species. The answer to the second question is yes, in as
|
|||
|
much as Earth inhabitants produce little of their own energy."
|
|||
|
"What prevents us from making our own energy? Have we
|
|||
|
exhausted reserves?"
|
|||
|
"Reserves of energy do exist on the planet Earth, in the
|
|||
|
form of solar energy, energy derived from wind, from biomass,
|
|||
|
from a variety of fossil fuels, and several other sources."
|
|||
|
"So why do we buy from the damned spacers?"
|
|||
|
"Economically competitive methods of energy production
|
|||
|
frequently involve farming of cannabis varieties. Such
|
|||
|
cultivation was made illegal in the United States of America
|
|||
|
in the year 1937. This law is traditionally upheld by many
|
|||
|
Americans."
|
|||
|
"Damn," Nixon said to Martha. "It would go against
|
|||
|
everything I ever believed in to legalize marijuana."
|
|||
|
"You never smoked any, yourself?" Martha asked.
|
|||
|
"No, I..." But I did, he realized. Just yesterday. Damn.
|
|||
|
Why did I do that? It seemed harmless... But no one need know
|
|||
|
that. "No, I cannot recall ever having done that," he said.
|
|||
|
"No."
|
|||
|
"Oh," she said.
|
|||
|
"If there were just a way to control the supply without
|
|||
|
actually growing it here," he mused. "Computer, describe the
|
|||
|
government of the spacers."
|
|||
|
"There is no general government for all inhabitants of
|
|||
|
the Solar System. There are small guiding bodies for some
|
|||
|
colonies, and a corporate structure for some manufacturing
|
|||
|
facilities."
|
|||
|
"Martha, is there a way to get the computer to print this
|
|||
|
stuff out in detail? So I can look it over at my leisure?"
|
|||
|
"Certainly," Martha said. "You must have a printer in the
|
|||
|
White House. Just tell it to print what you want."
|
|||
|
"Computer," Nixon said, "print out a detailed description
|
|||
|
of each existing government on Earth, and every colony in
|
|||
|
space."
|
|||
|
"File now in print queue," the computer said. "Printing."
|
|||
|
"Good," Nixon smiled. "Now we can spend a little time
|
|||
|
together."
|
|||
|
58. REPORT
|
|||
|
|
|||
|
"All right," said Martha. "I do have a report for you."
|
|||
|
"A report?"
|
|||
|
"Yes, Dick. I contacted my friends who are involved in
|
|||
|
researching breaks. And I compiled some basic information for
|
|||
|
you."
|
|||
|
"Thank you, Martha. You're very good at this."
|
|||
|
Martha's representation displayed a grin. "Thanks. My
|
|||
|
friends, by the way, are very interested in doing this work in
|
|||
|
an, um, official capacity. On a committee."
|
|||
|
"I'm trusting your judgement on this, Martha. These are
|
|||
|
your friends."
|
|||
|
"I'll have the computer print out their resume files.
|
|||
|
Anyway, what I learned from them is this: Breaks occured since
|
|||
|
the very beginning of computer technology. There was always
|
|||
|
some kind of interference, line noise, static electricity,
|
|||
|
whatever, which had the capability of scrambling data. The
|
|||
|
cybernet showed no greater incidence of breaks than you would
|
|||
|
have thought, until about three years ago. Then suddenly they
|
|||
|
seemed to proliferate <20> and no one can attribute a specific
|
|||
|
cause to them. They also have a tendency to cluster in certain
|
|||
|
areas of the net, although these areas change from minute to
|
|||
|
minute, or day to day. They told me that there was some
|
|||
|
similarity between the pattern in which breaks appear and the
|
|||
|
behavior of subatomic particles, but I don't know too much
|
|||
|
about subatomic particles. Do you?"
|
|||
|
"No, no. Nothing at all."
|
|||
|
"Anyone granted immunity will be <20> let me try Peterson on
|
|||
|
you today?"
|
|||
|
"Pardon me?"
|
|||
|
"Deep six it and get Hunt out of the country."
|
|||
|
"What are you saying, Martha? Are you... are you mocking
|
|||
|
me?"
|
|||
|
"No, Dick. Why would you say that?"
|
|||
|
"It sounded like, uh, I mean... the damn tapes. Were you
|
|||
|
talking about... uh..."
|
|||
|
"All I said was that my friends have studied quantum
|
|||
|
physics and could probably explain that better."
|
|||
|
"Oh, okay. Okay. Uh, Martha... I've been wondering
|
|||
|
something..."
|
|||
|
"Yes, Dick?"
|
|||
|
"Is this really the way you look? In the flesh, I mean?"
|
|||
|
"I'm a woman, actually," she said, showing a smile, "not
|
|||
|
a cartoon."
|
|||
|
"I bet you're beautiful."
|
|||
|
"So I've been told, but I'm not sure."
|
|||
|
"I want to meet you, Martha. I want to be able to touch
|
|||
|
you, to hold you... I want to marry you. I am astounded by
|
|||
|
your efficiency. You know your job. You would make a perfect
|
|||
|
first lady, you know. You're aware of the world around you,
|
|||
|
you're personable, you have a wonderful voice... Where do you
|
|||
|
live? Are you married? Do you have a family? Please, Martha.
|
|||
|
It would mean the world to me. Suddenly I'm alone in the
|
|||
|
world. I had a family once... Now I just need... I need...
|
|||
|
you, Martha."
|
|||
|
"Excuse me, Dick? I think us we're expriencing some
|
|||
|
breaks. The only thing that you just said that seemed together
|
|||
|
to make sense was that thing about the spin drive, but the
|
|||
|
rest of that was just bring boils down to the name of Hersh
|
|||
|
champagne."
|
|||
|
"Damn," said Nixon. "Goddamn."
|
|||
|
|
|||
|
|
|||
|
See next file: BREAKS2.ASC
|