textfiles/magazines/INTERTEXT/itv3n1

    **                               *******
     *                               *  *  *
     *                                  *
     * **     * ******* ***** ****      *  ***** **   ** *******
     *  **    * *  *  *  *     *  *     *   *      * *   *  *  *
     *  * *   *    *     *     *   *    *   *      * *      *
     *  *  *  *    *     *     *   *    *   *       *       *
     *  *   * *    *     ****  ****     *   ****    *       *
     *  *    **    *     *     *  *     *   *      * *      *
     *  *     *    *     *     *   *    *   *      * *      *
     *  *     *    *     ****  *    *   *   ****  *   *     *

---------------------------------------------------------------------
    Volume 3, Number 1                      January-February 1993
---------------------------------------------------------------------

                              Contents:

    FirstText: 1993 -- For a Limited Time Only........Jason Snell


                            Short Fiction

    Slime..............................................Mark Smith

    Doing Lunch........................................Mark Smith

    Timespooks (and bit parts).................Stan Kulikowski II

    Sweet Peppers.....................................Aviott John

    Dogbreath......................................Robert Hurvitz

---------------------------------------------------------------------
Editor                                               Assistant Editor
Jason Snell                                             Geoff Duncan
jsnell@ocf.berkeley.edu                          gaduncan@halcyon.com
---------------------------------------------------------------------
InterText Vol. 3, No. 1. InterText is published electronically on 
a bi-monthly basis. Reproduction of this magazine is permitted as 
long as the magazine is not sold and the entire text of the issue 
remains intact. Copyright 1993, Jason Snell. All stories Copyright 
1993 by their respective authors. All further rights to stories 
belong to the authors. InterText is the successor to Jim McCabe's 
electronic magazine, Athene. InterText is produced using Aldus 
PageMaker 4.2 and Microsoft Word 5.1 software on Apple Macintosh 
computers. For subscription requests or to submit stories, e-mail 
jsnell@ocf.Berkeley.edu. InterText is also available on CompuServe 
in the Electronic Frontier Foundation's "Zines from the Net" 
section, accessible by typing GO EFFSIG.
---------------------------------------------------------------------

---------------------------------------------------------------------
                              FirstText
                   1993 -- For a Limited Time Only
                             JASON SNELL
---------------------------------------------------------------------

   Welcome to 1993, and this year's first issue of InterText. The 
time between our last issue of 1992 and this one has been filled 
with lots of excitement for the people who bring you this 
magazine.

   For my part, I've spent the obscene amount of vacation time 
given to students at UC Berkeley (six weeks) to meet up with old 
friends, spending a good deal of time in Southern California -- 
lots of it in my old stomping grounds of San Diego. In fact, 
almost none of this issue was put together in Berkeley. The bulk 
of the work was done at my parents' house (and lots of that, 
including the redesign of the PostScript edition, on Christmas 
Eve) and in San Diego, where I've put together many an issue in 
the past.

   Among the people I've seen in the past two months is Philip 
Michaels, author of "Your Guide to High School Hate," the lead 
story of the May-June issue of _InterText_. I saw Philip twice, 
once in December (in his hometown of Danville) and once in January 
(in San Diego).

   Danville, the northern California town from whence Philip came, 
is an interesting place. It's a somewhat insular city that values 
its near-rural identity even though more people probably live 
within its city limits than lived in the entire county I grew up 
in. When entering Danville, you're greeted with a sign announcing 
you've crossed the "town limit," not the city limits you see 
everywhere else.

   I remembered an article about Danville that Philip had written 
about his home in an issue of the _UCSD Guardian_ newspaper while 
I was still the paper's editor in chief. In it, he explained how 
the town elders had refused to allow a McDonald's to be built 
because it might bring "the wrong element" into the town.

   As we drove through Danville and the surrounding (increasingly 
high-priced) countryside, Philip and I spotted something on the 
right side of the road. Could it be? Indeed, as Michaels let out a 
whoop, I saw the sign: "Here We Grow Again!" and a pair of 
familiar golden arches. McDonald's and its hideous double-whammy 
(the presence of both "the wrong element" and McRib for a limited 
time only) had come to Danville.

   From there we took a tour through more of Philip's past -- 
namely, his high school, the very high school which spawned 
Philip's hateful and appropriately-titled "High School Hate" 
piece. It was fascinating to actually see the edifice that had 
spawned such loathing, and an _InterText_ story.

   Anyway, it was a fun trip through a friend's life while at the 
same time being a trip through old issues of both the _Guardian_ 
and _InterText_.

   Also in the past couple of months, I was one of four students 
at UC Berkeley's School of Journalism to be awarded a _Reader's 
Digest_ Excellence in Journalism award. For this, I got a nice 
chunk of free money and a trip in the spring to Pleasantville, New 
York, home of _Reader's Digest_. When I go, which will be in March 
or April, I'll be sure to give them your best.

   This has also been a busy period for Geoff Duncan, 
_InterText_'s assistant editor. Geoff, now relocated to Seattle 
from his previous hang-out in Ohio, just got a job with Microsoft 
as a software tester. So now he delights me with stories of just 
how many bugs there actually are in all my favorite pieces of 
software. But I keep on using them...

   Geoff and his fiancee also finally moved into a new apartment 
in Bellvue, Washington, a short walk (on Geoff's injured toe) from 
Microsoft itself. Because his fiancee was visiting family in 
Boston when the apartment opened, Geoff (and his toe) got to move 
all of their stuff into the new apartment by himself.

   And yet, with all of this excitement, Geoff has continued to 
contribute greatly to the production of _InterText_. He took my 
Christmas Eve redesign of the PostScript edition and amplified it, 
and also worked with me on redesigning the look of the ASCII 
version of _InterText_.

   All the while, Geoff is also working on creating a viable 
reader program that would make on-screen reading of _InterText_ a 
lot easier for those with Apple Macintoshes (since Geoff and I use 
Macs, that seems a good place to start.) More word on all that in 
issues to come.

   And, finally, in the shower at home in December, I had yet 
another idea for the special "theme issue" of _InterText_ that I 
mentioned briefly a couple of issues ago. Though not off the 
drawing board yet, I have high hopes that we'll be able to bring 
you that issue by the end of the year. We shall see. It will 
depend on the cooperation of lots of _InterText_ writers out 
there.

   Well, enough from me. This issue rounds out our second year of 
publication, and I think it contains some fine material. We have 
two more stories from Mark Smith, a published writer from Texas 
who has appeared in the past two issues. This issue's lead story, 
"Slime," really struck me as an amusing story about mid-life 
crises, the changing roles we play as we get older, and rock and 
roll.

   We're also printing "Timespooks" by Stan Kulikowski II, a new 
writer. Stan's story came to me on Christmas Eve (right before my 
redesign frenzy), and I really enjoyed reading it. It's one of the 
oddest stories I've ever read, and Stan helped explain why when he 
wrote me that it was almost entirely based on a dream he had on 
the night of Oct. 27, 1992. Stan's been recording his dreams after 
waking up for some time, and it's a good thing too -- without 
those records, we wouldn't have "Timespooks."

   Enjoy the stories. See you back here in 60 days.

---------------------------------------------------------------------

---------------------------------------------------------------------
                                Slime
                             MARK SMITH
---------------------------------------------------------------------

   Slime's gaining on me. I know he'll catch up in a minute or 
two. I can hear his heels clicking on the sidewalk behind me. In a 
few seconds I'll hear his wheezing, labored breathing. Then he'll 
be here, begging me to go back and finish the set so he can get 
paid. Maybe then I can do what I should have done when he first 
proposed this fool's errand. Maybe for once I can tell Slime no.

   I stop walking and turn around to watch him run toward me down 
the sidewalk beside the VFW hall. He's dressed the same as me: 
faded jeans frayed and torn at the knees, black boots, zippered 
leather motorcycle jacket, studded leather wristband, the whole 
punk rock wardrobe. The only difference between Slime's clothes 
and mine are that he's been wearing his ever since we had our last 
gig, at least ten years ago. 

   On his skinny, weathered face, he's grinning his usual winning, 
boyish grin. He flashed the very same smile when he showed up at 
my house last week, clutching the handle of his old bass guitar 
case, proposing that we revive the band. 

   I was glad to see Slime; it had been a while. I led him through 
my house out into the den, passing Sandy in the kitchen on our 
way. I could tell she wasn't pleased. She barely mustered a nod to 
answer Slime's "Hey, howsit goin'?" Slime, of course, didn't 
notice the dark, sideways glance she threw me. 


   She could've talked me out of agreeing to Slime's scheme. She's 
much more sensible than me. She remembered the last time Slime 
came around. It was around Christmas about two years back. I don't 
remember the hour, but it was well after the kids were in bed. 
Slime called from a truck stop phone booth.

   He was on his way from Houston to L.A., where his folks live. I 
talked to him quietly, hoping Sandy wouldn't hear. But when I hung 
up, all she said was, "How much does he want?" 

   I told her and she frowned. It wasn't the sum. We could easily 
afford it. I knew that she was justifiably troubled at how easily 
I gave in to Slime.

   I had no stomach to pretend we'd ever see the money again and 
Sandy didn't say another word. She understood that helping Slime 
was neither an act of generosity nor of compromise. It was 
friendship and mutual history pure and simple, a natural order of 
things no more subject to question than gravity. 

   Slime showed up, got the money and stayed long enough not to 
seem rude -- which was too long for Sandy's taste -- and split. He 
promised he'd stop by on his way back to Houston after the 
holidays and meet my kids. I said I'd like that. That was the last 
I had heard from him. 

   I could understand Sandy's reaction to seeing Slime stroll back 
into our lives, but I had spent a particularly gladiatorial day in 
the bowels of the legal profession. I needed the antidote of an 
old friend. 


   Slime was wearing his usual collection of leathers and zippers 
and his hair still arched over his head in a jet-black crest like 
the outlandish topknot of a bizarre tropical bird. As he sat 
tapping his knee and bouncing his heel on the carpet, I could see 
that he hadn't lost any of the excited nervous energy that 
oscillated between creativity and a bad hustle. Whatever the case, 
Slime's humming energy level attracted people and tended to make 
them do things that they didn't mean to. 

   "Hey, man," I said. "Here you are." 

   "Yeah," he said, grinning, bobbing his head. "Good to see you." 

   "You look good. You ever eat?" 

   "No," said Slime, "as a matter of fact, I get my calories in 
beer." 

   "I get the hint," I said, and went to get us two bottles of 
beer out of the mini-fridge we keep in the den for Super Bowl 
parties and the like. 

   "Stylin'," said Slime, looking around appreciatively at the 
room. The den is cedar-paneled and opens through French doors out 
to the hot tub bubbling on the deck. I could tell he thought it 
looked pretty good. Probably compared to his one-room efficiency 
digs, I live the high life. The way I figure it, I deserve it, the 
shit I have to put up with.

   "I try," I said. 

   "I remember this house," he said. "Doin' all right. Big-time 
lawyer." 

   "Not so big, Slime. I just do my job well. Actually, I have to 
put up with a lot of crap." 

   Slime winced. "Ooh, no. I couldn't do it, man. No way. I don't 
do real well in the, like, office scene. I was doin' temp stuff 
for a while. I thought, whoa, get some, like, income, man. You 
know, cash flow. But it was not cool at all. The first thing they 
made me do was cut my hair and get some new clothes. You wouldn't 
have known me, Phil. Anyway, I couldn't hack it. I went back to 
driving a delivery truck. That's more my type of deal." 

   We sat on the leather sofa, sipped our beer and talked about 
the frat parties we'd played where the sons and daughters of Texas 
oil millionaires puked out their brains in the shrubbery while we 
ripped through our ten-thousandth cover of "Louie Louie." About 
our one abortive "tour" when we went on the road in Slime's old VW 
van playing bars in Dallas, Fort Worth, Tulsa and then back down 
to Houston. When it was all over, we had made about $50 each and 
felt lucky at that. 

   "So tell me about this gig," I said. 

   Slime's face lit up. "Aw, it's golden, man. Really golden. Rich 
guy's throwing a birthday bash for his son this coming Saturday. 
He's rented the friggin' VFW hall, man. Bandstand and everything. 
Found out about it from a friend of mine. I said, hey, great, I'm 
gonna get the old band back together. I been wantin' to see you 
guys anyway." 

   "What about Damon?" I asked. Damon had been our drummer, the 
third member of the group. I had completely lost track of Damon 
and didn't even know if he was in town anymore. 

   "He's in, man. Definitely. I talked to him today." 

   Well, that was something. I thought I'd like to see Damon again 
and I found the thought of the old band doing a gig together 
appealing. I missed the exhilaration I used to feel when I jumped 
onto even the meanest stage and started yelling the words to our 
favorite songs. I felt office work progressively weakening me, 
making me soft, sleepy. I looked at Slime, who hadn't changed a 
hair in ten years. I stared down at the shiny red, black and 
silver band stickers that covered the case of his instrument which 
lay like a hip coffin on the deep pile of my den. 

   "So we just run through the old lineup?" I said. "Is that it?" 

   "Yeah, the stuff the kids will like. Some Stones, Elvis. 
They'll even go for some New Wave tunes: Heads, B-52s. And some of 
the hot soul stuff." 

   "Right," I said, starting to remember our old repertoire: "Land 
of a 1,000 Dances," "Nobody," "96 Tears." We may have been pot-
smoking meatheads, but we knew how to control a crowd. We could 
move them through escalating layers of excitement from Doors to 
Stones to hard-rocking classics like "Party Doll," "Devil with a 
Blue Dress On," and "C.C. Rider." We'd slow down for "Sweet Jane" 
to give the crowd time to catch their breath and then we'd power 
through a finale of "Paint it Black," "Gloria," and "Good Golly 
Miss Molly." 

   Now I wondered if I could even find the chords on the guitar 
anymore, much less manage to make my fingers do those old 
contortions. 

   "So, are we on?" said Slime with a kind of halfway smirk. 

   I hesitated. Sandy was right. I had no business doing the gig. 
I had a wife and kids who depended on me. I had a job and 
responsibilities. I didn't know if I could play the songs or if I 
still had my voice. Add to that my old certainty that any venture 
with Slime was doomed from the outset. I had every reason in the 
world to say no. 

   "We're on," I said. 

   When Slime had gone, my kids, who had been spying on us from a 
safe distance, came into the living room. Jenny, the oldest, who 
is seven, said, "Daddy, who was that man?" 

   "His name is Slime," I said blandly. 

   Jenny cocked her head to one side, letting her long hair fall 
to her left shoulder. She smiled a wide, toothless grin at me. 
"Slime?" she squeaked in a falsetto of disbelief. "That's really 
his name?" 

   "He's an old friend of mine." 

   Joshua, the two-year-old, decked out in Osh Kosh overalls and 
socks with gumball machines on them, mimicked his big sister: 
"'lime?" 

   "How much did you give him?" said my wife, still standing by 
the front door. 

   "Nothing," I said, jamming my hands deep into my pockets and 
hunching my shoulders. "He wants to get the band together." 

   Sandy's fine blue eyes got wide, then narrowed. Jenny said, 
"What band, Daddy?" 

   "We used to be in a band together." 

   "I don't believe this," said Sandy, cocking a fist against her 
hip. 

   "Really? A real band?" chirped Jenny. "Like New Kids On The 
Block?" 

   "Well, not exactly," I said. 

   "Band, band, band," said Joshua, rolling over to grab my leg.

   Instinctively, Sandy reached down and scooped him up in her 
arms. 

   "What was your band called, Daddy?" 

   "That's enough," interrupted Sandy. She set Joshua back down on 
the floor. "Take Joshua and go and wash your hands for dinner." 

   "O-o-kay," sighed Jenny as she led her brother out of the room. 

   When they had gone, I said, "What was that all about?" 

   "I can just see Jenny at school: 'My daddy was in a cool band 
called the Sex Offenders!'"

   "I see your point," I said. 

   I promised Slime I would come to his place to practice during 
the week before our date, but things got crazy at work. One of the 
senior partners, a pompous asshole named Cramer who thinks he's 
important because he worked with Edward Bennett Williams in New 
York when he was in his twenties, dumped a load on me. Smack in 
the middle of a twelve-million dollar lawsuit that he had been 
preparing for two years, he decided to skip off to Florida for 
three days and go marlin fishing with some cohort who owned a 
yacht. He told the client he was ill and turned the case over to 
his assistant who, in turn, needed a second chair. Cramer 
recommended me. For this I was supposed to be grateful except that 
it meant staying at the office until after ten o'clock for three 
nights straight planning the redirect of a hostile witness. 

   I didn't see my kids from Wednesday morning until Saturday. 

   Of course, that did little to soften Sandy up to the idea of my 
playing with the band. I cared about her anger, but there wasn't 
much I could do. I had given Slime my word. 


   On Friday evening when I finally got home, I ate a cold supper 
and headed up to the attic where I dug my guitar case out from 
under a pile of toys my kids had outgrown. I schlepped the thing 
down into the den, cracked a beer and sat down on the sofa, laying 
the case on the floor at my feet. I snicked open the silver clips 
and lifted the lid. There, nestled in its crushed red velvet 
couch, lay my old Fender Stratocaster, as sleek as a '55 T-bird, 
as modern as the Chrysler Building. Looking at the guitar, I felt 
the old times wash around me like a tide. 

   I remembered buying the thing when I was still in high school 
and spending hours learning songs off my records. I learned to 
play songs by the Velvet Underground and a lot of stuff by Iggy 
and the Stooges. I liked the old fifties and sixties stuff too, 
garage band stuff like Sam the Sham and the Pharaohs, ? and the 
Mysterians, Mitch Ryder, Chuck Berry, and, of course, lots of 
Elvis. I liked songs with an edge. I liked the mean Stones songs: 
"Stupid Girl" and "Under My Thumb" and "Get Offa My Cloud." 

   I met Slime after I had started college and we immediately 
wanted to start a band. We needed a drummer and put a card up in 
the Laundromats around campus that said "drummer wanted for rock 
band" or some such and had my phone number on little pre-cut, 
pull-off pieces on the bottom. After about a week, Damon called. 
He was quiet, the odd man out, but he could play the drums like 
the devil himself: loud and fast and he never missed a beat. 

   I put my hand around the neck, lifted it out of the case and 
set it on my knee. The guitar felt natural in my hands. Before I 
knew it, I was finding the chords to "Sweet Little Sixteen." 
Without amplification, the metal strings sounded tinny and 
distant, but my fingering was surprisingly good. 

   Just then I happened to glance down in the case and noticed a 
something I hadn't before . It was a Sex Offenders sticker that I 
had completely forgotten about over the years. Damon, the artist 
in the group, had done a black and white drawing of a hunchbacked 
old coot in an overcoat leering over his shoulder. The text was 
done in lettering that seemed to be bleeding or melting. I reached 
down and picked up the sticker. We must have had thousands of 
these at one time. We gave them away to friends, people who came 
to the concerts, bartenders, whoever. They ended up all over town 
on lamp posts, car bumpers, backs of traffic signs. At the time, 
the sticker represented to us the reality of the group. To run 
across one by accident around town was a rush. It meant someone 
out there was paying attention. They were proof that we were 
having an effect. It occurred to me that I hadn't had that sort of 
proof in years. 

   I became aware of someone behind me and I turned to see Sandy 
leaning in the doorway, smiling at me in spite of herself. 

   "You with your guitar," she said. "I haven't seen that for 
awhile." 

   I blushed like I'd been caught with a love letter from an old 
flame in my hands. I wanted to say something, but I didn't know 
what. 

   Sandy came and sat on the sofa next to me. She put an arm 
around my back and said, "I didn't think I'd have to worry about a 
mid-life crisis for a while." 

   "Is that what it seems like to you?" 

   "A little," she said. 

   "Well, I don't know," I said. "If that means I'm afraid of 
getting old, well, I've been afraid of that for years. I guess 
that's part of it, but it's more." Sandy furrowed her brow at me. 
I could tell she didn't understand or didn't believe me. "When we 
had the band, I felt like I was doing something that people 
appreciated in their own twisted, anti-appreciative way. People 
would actually pay us to play. Bartenders gave us free drinks. 
Girls thought we were cool. And when we played, that was something 
you can't understand if you haven't done it. It sounds weird to 
say it, but it was the closest I've ever come to real power. We 
could get people worked up. Make them dance. I lost something when 
I stopped being in the band and I've never gotten it back." 

   Sandy grinned a little and said, "Well, then, I guess you have 
to do it."

   I grinned back. I thought, maybe this thing might go all right 
after all. 


   It didn't. 

   First off, neither Slime nor Damon were anywhere around when I 
arrived at the VFW hall. I found the place on the near east side 
of town just beyond the interstate in a warehouse district that 
had lately become gentrified. A greasy near-rain had been falling 
all day and the sparsely filled parking lot glistened menacingly 
in the failing light of dusk. Inside, the hall had been decorated 
with crepe paper and balloons and at one end there was a bandstand 
set up. I set my guitar on the stage and walked back toward the 
door where some caterers who looked Vietnamese or Korean dressed 
in white chefs' outfits complete with puffy hats were setting out 
trays of food on a long table covered with gleaming white linen. I 
asked one of the men if they had seen a guy with long hair and a 
leather jacket. He scowled at me like I had tasted the crab dip 
with my finger and shook his head. I wandered away.

   I sat on the edge of the stage and waited for Slime. After 
about half an hour, a raunchy looking dude with sunglasses and a 
beard and mustache walked in the door. He took off his shades and 
squinted around the room like the dim light hurt his eyes. He 
headed straight for the bandstand. 

   "Are you Slime?" he said without a smile or a prologue. 

   "No, I'm Phil." 

   "Glad to meet you, Phil," he said. "My name is Mike. I'm the 
drummer." 

   The drummer? But where was Damon? Then my brain engaged. Slime 
had used a reunion to get me in. No doubt he had tried the same 
trick with Damon with less success. After all, Damon had always 
shown a little better sense dealing with Slime than I had. 

   "Give me a hand with my gear?" he said. 

   "Right," I said and followed him out into the rain. Mike's 
vehicle turned out to be a late model Ford van with a dazzling 
purple, metal-flake paint job.

   I thought, this guy is doing all right for himself. 

   We made two trips out to bring in the drums. Once we were back 
inside, Mike went to work arranging his equipment on the stage 
with the precision and confidence of a professional. He paused at 
one point and said, "You got a cigarette on you?" 

   I gave him one and took one for myself. I struck a match and 
lit his and then mine. He said, "So you were in that band with 
Slime?" 

   "Yeah. It was a long time ago." 

   "The Sex somethings?" 

   "The Sex Offenders," I said. 

   "Punk shit, right?" 

   "Well, mainly covers," I said defensively. "But we did a few 
originals when we could." 

   "I hated that punk new wave shit," he said with an end-of-
discussion tone of voice. "I'm glad that shit's dead." 

   "So what do you play?" I asked. 

   "Jazz," Mike sniffed with the smug air of the first chair viola 
at the Philharmonic. 

   "Great," I said flatly. 

   By the time Slime arrived, the stage was set up and Mike had 
smoked all my cigarettes. I was in a sour mood. 

   "Great!" clucked Slime when he saw that we were set up. He put 
his bass on the edge of the bandstand and started taking it out of 
the case. 

   "Right," I said. "Great." I was annoyed and I wanted Slime to 
know it, though I wasn't sure what I hoped to gain from him 
knowing. 

   "So what happened to Damon?" I asked. 

   "Aw, Damon couldn't make it, man. He, like, he canceled out." 

   I stifled a snarl. "Was he ever in?" I said. 

   Slime stopped mid-motion in the act of plugging his bass into 
the amplifier. "What's that supposed to mean, Philly?" he said. 

   "Nothing," I said. "Forget it." 

   "No, man. Say it. You think I lied to you about Damon to get 
you to play." 

   I glanced at Mike, who stood to the side of the stage, smoking. 
He wasn't looking at us, but I could tell he was listening. I 
said, "No. Forget it. I'm just tired out. It's been a long week. I 
don't really care if Damon plays or not." 

   Slime grinned. Happy as usual to seize on the merest of excuses 
to be upbeat. 

   "That's cool," he said. "And, hey. Mike's a bitchin' drummer." 

   "I'm sure he is," I said dryly. 

   Slime's bass hung from his neck by a broad, rainbow-colored 
macrame strap.

   "Hey, guys, the joint's filling up," he said, fiddling with the 
volume button on the red body of his bass. 

   I looked around. Sure enough, the hall was starting to fill up 
with teenagers in hard shoes and brand new dress clothes: boys 
laughing nervously and girls standing very still. I felt my colon 
tighten. For the first time, it hit me that I had no idea what 
kind of music these kids liked. I hadn't listened to the radio in 
years. I couldn't name three bands on any top ten chart. 

   "Hey, Slime," I said. "What are we going to play anyway?" 

   "Only the best stuff," he grinned with his hands out, palms up 
in a what else? kind of gesture. "Only our very best repper-twar." 

   We started playing at nine o'clock sharp. The place was pretty 
much filled up and none of the kids were paying the slightest 
attention to us. I couldn't tell which one was the guest of honor 
nor were there any adults around to speak of other than the 
caterers. 


   We started with a shaky version of the old Human Beinz song 
"Nobody" which drew about the same reaction as a two degree change 
in the thermostat. We followed that by kicking into a version of 
"Sweet Jane," which started out all right except that I forgot the 
words and had to sing the second verse twice. No one was paying 
attention. The hum of crowd talk had increased just enough to 
drown us out. My only indication that we were making any sound at 
all was that I could see the needles on the amplifier bounce every 
time Mike pounded on his drums. The crowd huddled around the edge 
of the gaping dance floor like a poolside party in January. 

   Slime said, "_Jailhouse Rock_," but I said "No, _Heartbreak 
Hotel_." I was encouraged to see a few heads nod in the crowd. 
They had heard about Elvis, at least. In my frame of mind, I found 
it easy to put some effort into the spectral, vaguely suicidal 
lyrics. I even managed to balance on my toes while kicking my 
knees out into a wobbling hula-hoop dance step worthy of the King 
himself. Slime said, "Whoa, dude," but the only reaction I could 
see in the crowd were a few smirks. 

   A pretty girl wearing a low-cut green party gown with eyes to 
match came to the edge of the stage and said, "Do you know any 
Guns 'n' Roses songs?" 

   I looked at her and said, "Sorry," and believe me, I was. She 
shrugged her shoulders and went away. 

   We played two or three more songs to similar responses. The 
kids were getting bored. Knots of kids stood around the edge of 
the vacant dance floor successfully ignoring my first cover of "96 
Tears" in 10 years. When I said we were going to take a five 
minute break, no one looked too disappointed. 

   I went outside and stood by myself looking at the cars in the 
parking lot.

   I took out my last cigarette. The door opened and Slime and 
Mike came out.

   "Got another smoke?" said Mike. 

   "No," I barked. 

   "How're we doin'?" said Slime. 

   "We suck," I said. 

   "Huh?" said Slime. "You're not into this? I'm thinkin' this is 
cool, us jammin' together again. Runnin' through the old tunes." 

   "It's not like old times, Slime," I said. "It's new times and 
these kids are into a whole different bunch of songs by bands we 
never heard of." 

   "Phil's right," said Mike. "This gig's not happening." 

   Slime looked confused. I allowed him a scant moment of 
compassion. 

   "Well, then. What do we do?" he said. 

   "Do you guys know any Jane's Addiction songs or Jesus Jones or 
Guns 'n' Roses? Because this golden oldie shit is not working." 

   Slime shook his head. Mike looked bored. 

   "Here's what we do," I said. "We try some of our originals." 

   Slime perked up. "You mean the Sex Offenders stuff?" he said. 

   "Why not?" 

   Mike groaned, but Slime nodded his head and said, "Wicked!" 

   "Let's go," I said. 

   We went back inside, got settled on the stage and crashed into 
a screaming version of "Kill the Rich." What happened next was 
like one of those old Alan Freed movies where the band at the prom 
finally gets sick of playing Strauss waltzes and starts rocking 
and the kids go wild and the parents get nervous at first and then 
they start twisting too. The atmosphere in the room suddenly 
snapped into place. The kids looked up from their punch and 
stopped talking. A couple jigged onto the dance floor and then 
another and a third and before I knew it, there were a good number 
of dancers. I felt myself start to relax for the first time in 
days. Maybe we could salvage this thing after all. 

   We finished "Kill the Rich" and launched into "I Hate This 
Town." I could feel the old energy returning along with my 
confidence. More kids went onto the dance floor and gyrated to the 
pounding beat. I ripped harder into the lyrics and started pacing 
the stage and shouting into the microphone like James Brown.

   I caught a glimpse of the caterers who were suddenly standing 
beside deserted chafing dishes, arms folded, shaking their heads. 

   We jumped into "I Want To Sleep With You" without so much as a 
sixteenth note's pause between songs. I glanced at Slime who had a 
big, shit-eating grin on his face, but Mike looked like he was 
struggling to keep up. We were cooking. I felt the last ten years 
of office burden detach itself and float away from me like a 
dandelion fluff. 

   Just then, I heard someone calling my name, yelling in fact: 
"Phil! Phil!" I thought it must be Slime and I turned to look at 
him, but he only grinned back. 

   That's when I looked down and saw, of all people, the most 
unlikely and unexpected face in the world: Cramer, the senior 
partner in my law firm. He glared up at me with a mixture of 
disbelief and embarrassment. His sunburned face strained out of 
his starched collar. 

   "Phil," he said. "What the fuck are you doing up there?" He 
seemed as confused as I was. I had stopped playing and Slime and 
Mike petered out behind me. 

   "What am I doing?" I said. "What are you doing here?" Though I 
thought I already knew. 

   "This is my daughter's 16th birthday party. She's the one with 
the green dress on." I looked over at the girl he motioned to, the 
same one who had asked for Guns 'n' Roses. 

   "Pretty," I said. 

   "Do you mean to say that you play in this band?" said Cramer, 
still unclear of the situation or what it meant about me one way 
or the other. 

   "Yes sir," I said. "Slime and I used to play together in a band 
called--" I paused. "Well, never mind." 

   "I'll be damned. My second chair is a punk rocker." 

   "Substitute second chair," I said. "Well, do you like it? The 
music?" 

   "No. It stinks," said Cramer. He glanced around at the teens on 
the dance floor and added, "but the kids seem to like it." 

   "Okay," I said, forcing a grin, though Cramer wasn't smiling. I 
didn't like that. I wished he would crack a smile. I could tell he 
didn't know what to say, what to make of my being there. I figured 
by Monday morning he'd have made up his mind. I would spend a 
nervous weekend until then. 

   Cramer nodded curtly and disappeared. I managed to croak out 
two or three more songs, but the energy had left me and where I 
had felt the old power again, now I only felt a tightening in my 
gut. 

   I turned back toward Slime who was grinning like Joshua when I 
take him for ice cream. "I'm through," I said. 

   Slime yelped something at me I didn't hear and I was out of the 
building by the time he got his strap unhooked. 


   Slime's gaining on me. 

   I lean against the brick wall of the VFW hall. I tap my pockets 
for another cigarette but they're all gone. I wait for him to 
catch up to me. When he does, he's panting hard from running so 
fast. 

   "Philly, what're you doin'?" he says after he gets his breath 
back. 

   "I'm leaving, Slime. I'm out of here." 

   "But why?" he says. "We were kickin' ass, man." 

   "What?" I say indignantly. "Do I have to spell this out for 
you? This thing was a bad idea from the beginning. I've been lied 
to, laughed at, and humiliated. I've alienated my family and 
pissed off my boss. I've been reminded of my weakness, my lack of 
talent and my lost hopes. What else do you want from me, Slime?" 

   "But--" 

   "But what?" I fire back at him. 

   "But, I mean, wouldn't all of that stuff have happened anyway?" 

   I stare at him for a minute, then close my eyes against the 
weariness. I feel myself losing the need to blame Slime for any of 
this. 

   "Hey, man," he says, "You have it all. I'm, like, in awe of 
you, Philly." 

   "In awe of me?" I say. "Why the hell would you be in awe of me? 
I have a stressed-out job chasing bones for assholes like Cramer. 
I'm mortgaged up to my eyeballs. I have two kids and a wife I 
never get to see. I haven't gone out dancing or drinking or even 
to a movie in five years. I eat badly and I drink too much and I 
don't ever exercise. I'm probably going to croak from a heart 
attack taking out the garbage one of these days and it's going to 
deprive the world of absolutely nothing. In awe of me, Slime? 
You've got to be kidding." 

   "No, I mean it," says Slime and, for once, he isn't wearing his 
silly grin. "Great job, beautiful wife, cute kids, cool house. You 
got it all. You ought to relax and enjoy it. See, there's the 
difference between us, Phil. I'm too relaxed to go out and get 
that stuff you have and you're too uptight to enjoy it." 

   "Well," I say, beginning to grin in spite of myself. "You want 
to trade?" 

   "Huh?" 

   "Trade, Slime. I mean, Monday morning you put on a suit and tie 
and go sit at my desk at the firm of Cramer, Dillahunt and 
Dillahunt and I'll go odd-jobbing around the southwest for awhile 
sleeping late and playing in clubs. You can yell at my kids until 
you're blue in the face, sit and drink scotch in the hot tub and 
do the dinner dishes to your heart's content. What do you say?" 

   Slime looks like he might actually go for it. Then his grin 
comes back and fills his face like a sunny window. At last he 
says, "No, no. I guess not" and starts to back away down the 
sidewalk. 

   "Hey man," he says. "I'll call you soon." 

   "Okay," I say and watch him as he turns and starts back toward 
the door of the VFW. No doubt he's going to track down Cramer and 
get paid for the gig. I stand in the cold drizzle and watch him 
walk away. Long after he's gone, I say again, "Okay, buddy. You do 
that." 

   But I know he won't. 

---------------------------------------------------------------------
                            Doing Lunch
                             MARK SMITH
---------------------------------------------------------------------

   Donna, my boss, leaned against my desk and said, "God, am I the 
only sane one around here?" 

   I swiveled in my chair and looked up at her. She didn't look 
great. The fluorescent lights did not flatter her features. 
Fluorescent lights don't flatter anyone's features. 

   "What do you mean, sane?" I said. It wasn't an insightful 
comment. I didn't mean it to be. I only wanted her to go away so I 
could make some progress on the pile of work she had given me. My 
in basket was literally broken under a leaning tower of papers. 

   "I just had a cigarette out on the front step with that guy 
Bosco in Development." 

   "Bosco?" I said. 

   "Yeah. I'm sure you've seen him. He's bald and always wears a 
bow tie?" 

   "Okay..." 

   "Anyway, it turns out he's a raving Republican racist pig. All 
he talked about for ten minutes was how those people want a hand-
out and those people are lazy and those people don't take the time 
to raise their kids." 

   "Just don't talk to him anymore," I said, eyeing the paper on 
my desk. 

   She went on, ignoring me. "I mean, he actually buys breakfast 
cereal for his kids with candy in it." 

   "Huh?" I said. None of this was getting any clearer. 

   "Yeah. He told me this. How his kids eat this stuff that's like 
Cheerios except that it has candy in the middle. Can you believe 
that?" 

   "What do you expect from a guy named Bosco?" I said. 

   "I mean, here we are trying to change the world and there are 
people out there using vast creative talents to make a cereal with 
candy in it." 

   "They're just hustling a buck same as the next guy," I said. 

   Donna looked at me coldly and pushed her glasses up on her 
nose. "Speak for yourself," she said. "It's not a perfect world. 
When I see something wrong, I have to fix it right now." She put 
her hands to either side of her head and hunched her shoulders. 
"Oh, it just makes me crazy," she said. 

   I picked up a sheet of paper from the top of the stack in my 
in-basket and tried to look busy. 

   "Oh, I guess you're actually trying to get something done," 
said Donna. 

   "Oh, well..." I said. She sighed wearily and drifted out of my 
office back into hers. I looked at the mountain of paperwork ahead 
of me and decided to go to lunch. When I passed through Donna's 
office, she was playing a game on her computer. 

   I passed the guard's desk in the lobby. It was equipped with an 
impressive panel of video monitors each showing a half-tone still-
life of some remote corner of the building: stairwell, fire door, 
hallway. Occasionally, a human being, distorted by the fish-eye 
lens of the camera, would pass elliptically across one of the 
monitors. The guard, busy trying to work the _Times_ daily 
crossword in ink, wasn't paying any attention whatsoever to the 
monitors. He grunted as I passed. 

   The glass and chrome doors of our building delivered me into 
the lunchtime crowds on Broadway. The sidewalks were crowded with 
the motley assortment of humanity typical downtown: men and women 
in business suits, NYU students in their uniforms of black spandex 
and leathers, tattered homeless, hitch-stepping hustlers, junkies, 
deadbeats and drunks. 

   I headed downtown. I had vague thoughts of going into Tower 
Records, maybe a bookstore, then catch a sandwich on the way back. 
At Astor Place, I passed a woman sitting on a heating grate in the 
sidewalk. She leaned against the building and across her knees lay 
a sign lettered on a scrap of corrugated cardboard. It said, "my 
BaBy diEd, Im TRyinG To gEt EnouGH To BuRy Him And Go Back HomE To 
NoRTH caRoLiNa. PLEASE HELP ME!" 

   I'd walked by her on that corner for weeks, always with the 
same sign, watching the crowds walk by ignoring her. I put fifty 
cents in her blue and white Acropolis cup. 

   "God bless you, sir," she says to me. I nodded and went on. I 
wondered where she'd keep it if she really did have a dead baby. I 
thought of weird possibilities: a locker at the Port Authority, 
the coat check at the Met. I started laughing to myself. 

   In the next block a black man with a gray stubble of beard 
stepped into my path, his hand out. He wore a hound's tooth sports 
jacket that might actually have once been a fine piece of 
clothing, taken off a rack in a men's store on the upper East 
side, now stiff with grime, lining ripped and dangling. 

   "Spare quatta, spare quatta, spare some cha-a-a-a-i-i-i-nge!" 
growled the wino in my face. 

   I had just donated my last pocket change to the dead baby 
cause. "Sorry," I mumbled. 

   "Aii, go to hell, college boy," he said with a wave of his 
hand, and stumbled away after another victim. 

   As I approached Fourth Street, the red and orange sign over 
Tower loomed in front of me. People buzzed in and out of the 
revolving doors like worker bees around a hive. At the last 
minute, I decided to pass up the temptation of idle consumerism 
and turned instead toward the park.

   I wandered down Fourth and meandered in a zig-zag north and 
west through quieter streets past NYU campus buildings and dorms. 
Halfway down one block, a delivery van was parked with two wheels 
on the sidewalk, the roll-top back end up and two guys hauling out 
boxes. As I stepped into the street to walk around it, a deafening 
shriek filled my ears, echoing down the tight, gray street. A 
courier on a bike whizzed past me. The whistle in his mouth 
dropped to the end of its string as the guy yelled at me, "Watch 
out where you're going, jerk!" 

   I crossed the street and entered the east side of Washington 
Square park. The usual crowd was there: roller skaters weaving in 
and out of the mob, knots of guys around boom boxes, kids in Ocean 
Pacific sportswear from head-to-toe balancing on the tips of neon 
green and pink skateboards, fat cops walking around tapping their 
legs with their nightsticks, old folks on benches throwing popcorn 
to the leprous pigeons, small children swarming the fenced-in 
playground. 

   A skinny guy with polyester pants and sandals, his dreadlocks 
tucked up under a massive, rainbow-colored macrame cap, stepped in 
front of me and said quietly, "Weed? Dime bag? Nickel bag?" 

   I slowed down. I usually had enough sense to tell these guys to 
beat it.

   I hadn't smoked much pot since college, mainly because all my 
friends had dried up. But I felt loose and a little detached. 
Without saying a word to the guy, I pulled a five dollar bill from 
my pocket. Like a rasta leprechaun, the guy made the bill 
disappear, replaced by a tiny zip-lock plastic bag like the 
Hasidim use to carry rings back and forth across 47th Street or 
Canal. Inside the bag was enough pot to roll a very skinny joint. 
When I looked up, the rastaman had vanished. 

   I stuck the bag in my pocket and went and sat on a park bench. 
Close by, a crowd had gathered around a guy who was furiously 
assaulting a guitar and shouting a manic version of "Friend of the 
Devil." 

   A dark, attractive woman with short hair and high cheek bones 
sat down on the bench next to me. She was nicely built and wore 
black jeans, black T-shirt, black boots and black leather jacket 
with plenty of zippers and studs. She wore lace gloves with the 
fingers cut out. Her fingernails were painted black. She took out 
a cigarette and said to me, "Got a light?" 

   I fished out my Bic handed it to her. She lit her cigarette, 
releasing a big cloud of blue and gray smoke. I lit one too and 
said, "You like it?" 

   "Like what?" she said. 

   "The music," I said. 

   "No," she said. "It sucks." 

   I nodded. She was right. They guy continued to bang away on his 
guitar like he wanted to rip out the strings. 

   "You want to smoke a joint?" I said. 

   She looked sharply at me and said, "Are you a cop?" 

   I laughed. "No," I said. 

   "Well, then. Okay." 

   "Hold on," I said and went over to where my Jamaican friend was 
standing with a group of his compatriots grooving to some dub 
masterpiece rattling out of a boom box the size of a Fotomat. I 
asked him for a rolling paper. He gave it to me without so much as 
a glance. I went back to the bench, took out the tiny bag and 
rolled a joint on my thigh. I lit it from my cigarette and passed 
it to the woman who took it between the tips of her black 
fingernails. 

   "You work around here?" she said. 

   "Yep." 

   "What do you do?" she said. 

   "As little as possible," I said. 

   She didn't grin. I didn't grin either. She passed the joint 
back to me and said, "Well, what is it you're supposed to do?" 

   "I'm not quite sure," I said. I still didn't smile. This was a 
serious conversation. 

   "Quite a talker aren't you?" 

   "Actually, I am," I said. We passed the joint back and forth a 
few more times until it was gone. I was suddenly high. The guitar 
player kept pounding away. The park and all its surreal cast of 
characters seemed to grow small and recede. 

   "Do you want to walk?" she said. 

   I nodded and we stood and started off toward Fifth. I couldn't 
tell which of us was following the other. I wondered how much of 
my lunch hour was left and whether I could go back at all. 

   "What's your name?" I said. 

   "Heidi," she said. 

   I laughed out loud. I was sure she was putting me on, this 
dungeon angel in nightcrawler black. But she still hadn't cracked 
a smile. 

   "Really?" I said. 

   "Really," said Heidi. 

   "I'm sorry I laughed." 

   "That's okay," she said. "Everyone does." 

   We walked past the arch and up Waverly toward the West Village. 
We wandered down side streets past serene brownstones, unchanged 
for a hundred years, window boxes full of geraniums. I felt very 
odd and only part of it was because of the pot. I glanced at Heidi 
walking beside me and wondered if any of this meant anything. 

   The corner at Sixth Avenue was swarming with activity. 
Passengers were rushing in and out of the subway and the lunch 
crowd came and went from the diner up the block. 

   We turned the corner toward the basketball court. 

   "These guys are serious," I said. Heidi peered soberly through 
the chain link fence where ten huge men were playing a noisy, 
full-court game. Spectators leaned and hung on the fence and kids 
that should have been in school watched from their bike seats. 

   "Oh, Jesus, one of those deals," said Heidi. I looked around to 
see that a crowd had started to gather around a three-card monte 
game on a flimsy folding table. 

   The card man laid three bent and worn playing cards face up, 
flipped them over, mixed them up and put a twenty-dollar bill on 
the table. "Four of diamonds," he said. "Four of diamonds." 

   Some guy in the crowd laid a twenty beside the first and turned 
over the four of diamonds. "All right!" he said, taking both of 
the twenties. The hustler rearranged the cards and staked a ten. 
"Four of diamonds," he said to the winner. 

   "I'll bite," he said and dropped a ten next to the first and 
pointed to a card: four of diamonds. "Well, goddammit," said the 
operator. "You doing good." The winner picked up the tens and the 
house shuffled the cards. This time a fifty appeared: Grant's 
whiskered, alcoholic face looked up fiercely at this spectacle. 
Two twenties and a ten met the wager and the crowd was quiet for 
the brief moment it took to turn over the ace of spades. 

   "Aw, Christ," said the winner, as he backed away, looking at 
the ten dollar bill he had in his hand. The hustler swept the 
bills into his hand and rearranged the cards. 

   I watched carefully. I was sure it was the card in the middle. 
Without thinking twice, I pulled a twenty from my jacket pocket, 
tossed it on the table and picked a card: king of spades. I was 
dazed. I could ill-afford to lose twenty dollars. Along with the 
ten left in my pocket, that was all the money I had until payday. 

   I glanced at Heidi, who looked at me with a bored expression. I 
didn't care what she thought; I had to get my twenty back. The guy 
rearranged the cards and put out a ten. I matched it and picked up 
a card: four of diamonds. 

   "Yes!" I said. I felt my heart pound as I scooped up the bills. 
I thought I heard Heidi say "stop now" as I concentrated on the 
movement of the cards.

   Without so much as a pause, I matched the house twenty with my 
two tens. I was so sure of the cards that I had started to reach 
for the bills before I realized I was staring at the ace of 
spades. The hustler's hand snaked out and reeled in my last dime. 
As I backed out of the crowd, another loser stepped into my place. 

   I looked at Heidi, who stood with her arms crossed. I could see 
her trying to decide where to place me on a range of possibilities 
between kind of interesting and dangerously unbalanced.

   I figured she was calculating the risk of involvement by 
estimating the ratio of interest to misery: a woman's standard 
measure of a man. 

   "I have to go back," I said. 

   We had walked half a block when she said, "Is this, like, a 
normal lunch break for you?" 

   "Well, no," I said. "I guess not. In fact, it's pretty weird." 

   "Hmmm," she said. "I'm not sure if I'm glad to hear that or 
not." 

   When we got back to the park, she said, "I have to go this 
way." She waved her hand northward up Fifth. 

   "Okay," I said. "Can I call you?" 

   "No. Give me your number. If I decide to, I'll call you." 

   I took out a scrap of paper and a ball-point pen, scribbled my 
home and work numbers and handed her the paper. We stood looking 
at each other. Her hands were folded in front of her. I leaned 
toward her. 

   "No," she said. "Don't do that. There might be a time for that 
later on, but not now." 

   Then, with an odd, backward glance, she turned, bounded across 
Fifth, and disappeared into the crowd. At that moment, high above 
the honking, screaming, grinding sounds of the city, came the peal 
of a tower clock; a clear, resounding _bong_ that rang out over 
the chaos of the city and spoke to me through my confusion. 

   I began walking briskly toward Broadway. The fogginess of the 
pot was wearing off. I thought about the oddness of the last hour 
and tried to puzzle meaning from it. I wondered if I would see 
Heidi again or if that even mattered. Whatever she decided, in a 
lonely city full of self-made prisoners of paranoia, an 
attractive, apparently sensible woman had spoken to me out of the 
blue without fear or condition or motive. So why, then, had I 
responded by playing the role of an immature, self-destructive 
lout, or was that the real me after all? 

   I dashed though the doors of my building, past the guard who 
barely glanced at me. As I passed my boss, she was still playing 
Tetris, the blocks falling like geometric snowflakes on her 
computer screen. Without looking up, she said, "Where have you 
been?" 

   "Oh, just doing lunch," I said. 

   "Slow service?" she said. 

   I suddenly remembered that for all that had happened, I hadn't 
eaten at all. Nor would I for days if I couldn't find some money 
somewhere. I chuckled cryptically. 

   Back in my office, I picked up my phone to check my voice mail. 
The computer voice told me I had a message, so I punched in my 
password. 

   "Hi, this is Heidi. I just want to know if you're as weird as 
you seem? I mean, it's okay one way or the other. I just have to 
know. I guess, if you want to meet in the park for lunch tomorrow, 
that'd be all right. We'll see how it goes, okay? Bye." 

   I hung up the phone and sat in my office under the unforgiving 
fluorescent glare. 

   "Hey, Donna," I yelled into the next office without bothering 
to get up from where I sat, grinning like a madman. "Can you lend 
me thirty bucks till payday?" 

---------------------------------------------------------------------
Mark Smith (mlsmith@tenet.edu) Has been writing fiction and non-
fiction for over ten years. His fiction has appeared or is 
forthcoming in _Window_, _Spectrum_, _Malcontent_, _Epiphany_, the 
_Lone Star Literary Quarterly_, and _Elements_. Mark is also the 
author of a collection of short stories titled _Riddle_ (Argo 
Press, Austin, Texas, 1992).
--------------------------------------------------------------------

---------------------------------------------------------------------
                     Timespooks (and bit parts)
                         STAN KULIKOWSKI II
---------------------------------------------------------------------

   Starring: Jack Nicholson, a Mobile. Jeff Goldblum, a Sessile.
    And a supporting cast of thousands of other small parts.


   He was sitting in the car waiting for the bullet he knew would 
come. When it did, he heard a small tinkling of broken glass, and 
wondered if the window would crinkle in that sparkling pattern in 
which a small break would propagate another small crack and 
another and another until the entire surface became an opaque 
fractal prism, falling into a zillion separate tiny stars on the 
slightest touch.

   It didn't. That was odd, he thought.

   Another thing that was odd was that it really didn't hurt much. 
The small-caliber projectile had entered on the right front hip, 
striking the pelvic horn and ricocheting upward through endlessly 
convoluted turns of intestines, nicking the liver and the hepatic 
vein, and finally coming to rest lodged in the interior wall of 
the diaphragm. The point of the tiny Teflon-coated bullet, called 
a Needlehead, was just sharp enough to grate a little against a 
rib when he breathed in.

   He expected more pain. As it was, the small scritchscritch when 
he inspired was about it. The bullet's brief flight through his 
organs and membranes had been like an instant of thin, brilliant 
ruby laser light. An almost static image of a single spider's 
thread through his body, so he could note its passage and the 
resultant damage but hardly more. He kept his face winced and his 
gut sucked in for a long time expecting an onslaught of agony 
which never came. Eventually he had to relax and admit that being 
shot was not as bad as he had thought it would be.

   The problem was the nick on the hepatic vein. The entry wound 
itself was slight. There was hardly a dribble of blood, and that 
was quickly stanched when he placed his hand over it. All the 
myriad punctures of the twistings of small intestine were so minor 
that most of them would seal and heal without much surgical 
assistance. A little liver tissue would regenerate with just a 
scar. The slight mass of the bullet itself was just an annoyance, 
easily removed.

   It was the sharp incision across the venous wall that would 
occasionally gape open, then closed, like a curious mouth speaking 
large quantities of the dark venous blood into his visceral 
cavity. Episodic internal hemorrhage. He would eventually bleed to 
death without losing more than a teaspoon of blood.

   If he sat there very still, he figured he might have a few 
hours left before the circulating volume of his blood lowered 
enough for him to black out of consciousness for the last time. 
His belly would bloat outward when receiving the expanding 
embolism. The internal visceral pressure might eventually 
equilibrate with the lowering venous pressure so further loss 
might be minimal, but by then it would be too late to do any good. 
His brain needed a constant fresh supply of prime, Grade-A, 
oxygenated corpuscles to survive and a dead-end reservoir that was 
far too large was being created south of the rib cage.

   Of course, the end could come much quicker than that. The 
sharp, clean tear of the hepatic vessel wall could rupture at any 
moment and he would see life's vibrant colors drain away to black 
in a sudden rushing swoosh into the hidden internal sea below.

   Just sit here for a while and wait. Yep, thinks Nicholson, live 
life to its longest if I just take it easy here for a while.


   But after a bit, Jack gets bored of sitting hunched over in the 
Mercedes. When he gets restless, he decides that he may as well 
get up and go back into the studio wardroom. Getting out the front 
seat gingerly, holding his side (uselessly), Jack walks hunched 
over like a crab. He crosses the parking lot and makes it up the 
three steps to the wardroom vestibule. If he's going to die 
anyway, he may as well seek out the company of friends. If he dies 
on the way, at least he'll see himself doing a great heroic act -- 
something he always found possible but just missing in his real 
life.

   He passes the nurse's station, with a sneer on his lips and 
dragging one leg, his hand clutching over his liver tightly. It 
looks so much like Lon Chaney Sr.'s _Hunchback of Notre Dame_ that 
they just wave him through security and check-in. He had just 
left, after all, and if this is the way 'an artist' like him wants 
to work up a part, so be it.

   A few doors down the corridor, the rich, deep pungency of the 
wardrooms takes over. An odor so strong and so human that it puts 
a stitch in your breathing when you first hit it like a wall. The 
smells of sweat and exhaled air and a little vomit and silent-but-
deadlies. Nothing else like it on Earth, and nobody except perhaps 
primeval Neanderthals might recognize it: a crowded cave, poor 
sanitation, after a long hard winter just after an attack by ax-
wielding cannibals, who gutted many and ate several members of the 
tribe, spilling their sour gastric juices with their guts. That 
kind of smell.

   Nicholson feels buoyed by the throat-choking stench. Actors 
took to the wardrooms like they responded to the smell of 
greasepaint backstage on opening night. It took a while to get 
used to it at first, but the whole arrangement made so much sense. 
Theater, movies, then the wards forever.

   There was, increasingly nowadays, an underlying tincture to the 
wardrooms. An occasional waft of sterile alcohol or ammonia and 
the antiseptic tang of the medical support units. The old-timers 
say you get used to these otherwise distracting gustatory 
conflicts. You cannot do without the doctors and their skills, so 
you've gotta put up with the sharp stink of their trade.

   The naive think that one day the medical interventions would 
cut through the basic odor of concentrated living. But that didn't 
seem to be the case. The same old guys (with their wisdom of age 
and experience) would say that you could always tell the smell of 
someone getting too rich in the biotics. These outbreaks, nasally 
distinct, would soon be followed by sharp smells of the 
antiseptic. Those medical kids would step in and ferret out the 
corruption and putrefaction, leaving instead their own non-living 
traces. A good healthy wardroom had its own supporting olfaction.


   Jack, as he shambles down his corridor, knows that he won't 
collapse before he makes it across the dayroom, right next to 
where Jeff Goldblum is almost always typing away at a VT-220. It's 
truly ancient equipment -- the color monitor and keyboard are 
almost certifiable antiques.

   _Peck, peck, peck._ Goldblum punched at the keys in his own 
unique fingering. Sometimes hunting, a complicated dance of finger 
motions and wrist snappings. His keyboarding was like a showboat 
performance artist: lots of dramatic pauses punctuated by 
incredibly complicated twistings of fingernails and tips. Just the 
right pressures for maximum speed of output. Hands suddenly thrown 
into the air as if expecting instant applause for some piece of 
brilliance.

   Light shines down in a beam from a nearby window. Somehow Jeff 
always gets a position next to a real window. Most in the biomass 
of actors equity just get sunlamps at the right wattage to produce 
healthy Vitamin D in the surface skin. Goldblum always thinks that 
natural sunlight gives his skin a special sheen which made a 
perceptible difference in those forty-foot projections on the 
silver screen. It didn't matter that much for television work, but 
the true cinema deserved his best... and that always came when he 
was given a window seat.

   Actually, the location teams just got tired of hearing his 
bitching when he got transplanted into a normal room. Everyone 
knew that the constant, controlled frequency of the halogen lamps 
were better than the erratic variability of the sun. So it was not 
really difficult for him to pre-empt a place near a window.

   Natural sunlight gives his skin a special sheen... _Sure_, he 
shrugs. 'His skin' could be any color of the rainbow whenever he 
went Mobile. The surgical crew could see to that. Not to mention 
what the makeup crew could do when they took over. remember his 
_Othello_? Nobody ever thought that a skinny, Jewish Goldblum 
could replace Olivier by becoming darker than Portier. It has 
become a standard joke in the industry. Still, he likes the feel 
of the true sun coming in over his shoulder. Perhaps that feeling 
of self-contentment is what made all the difference in his next 
adventure before the celluloid. Perhaps it was just the old De 
Mille-style star system: cater to their quirks between roles if 
you want the best output from name actors.

   Jeff finally notices Nicholson as he sidles into a day chair, 
sharing the beam of daylight. Jack has been one of his best 
friends, especially since Geena decided not to have anything to do 
with him. It had been touch-and-go on the set of _Mutiny on the 
Bounty_, as Nicholson always managed to upstage your spotlight 
somehow. His Bligh to Jeff's Christian had that spark of 
greatness. True, the film wasn't exactly a financial hit, but the 
critics had understood that producing it as a 3-D space opera had 
some risks. _Bounty_ was guaranteed classic status anyway: the 
last first-run 3-D with the red and green lens before they solved 
the close-up problem with the holos.

   "So what's happening, Jack?" says Jeff with his cool halfway 
grin. "You look like you just passed a concrete turd the size of a 
melon."

   "Yeah, it feels kinda like it," Nicholson says as he sinks into 
the overstuffed naugahide day chair. The sound of a whoopee 
cushion erupts as his exposed skin rubs against the dry, sun hot 
surface. "I been shot pretty good."

   "So tell me what you been up to these last ten minutes since 
you left,' asked Jeff, not really listening for an answer. On his 
terminal he has displayed the last of a treatise on the benefits 
of species-wide immune responses through direct sharing of 
antibody defenses in a common blood pool.


   It had been the first and biggest surprise of the human genome 
project. While mapping out the location of all genetic variants, 
the mechanism of self/nonself recognition was discovered on the 
molecular level. Of course, the AIDS researchers and the cancer 
crew all claimed prior superiority, but the Nobel went to a 
computer operator, a CAD/CAM geek. She got the published data from 
genetic probes and started playing with the balls and knobs in 
virtual data extrapolations. A little eye of frog and toe of newt, 
and presto-chango: the degree of biochemical self-recognition 
could be precisely tuned.

   No more tissue rejection ever. The immune system could be 
taught to recognize anything human as good stuff to be maintained. 
Viruses and bacteria did not have a chance to get through the new 
human immune system. Indeed, mixing human organs and tissues was 
found to be self-actuating-- the conglomerate having a finer 
collective degree of antibody response. Each originally separate 
immune system had slightly different capacities to produce the 
antibodies needed for leukocytic scrubbing of the tissues and 
bloodstream. The recognition mechanism of the antibodies could be 
adjusted to whatever level of acceptance or rejection was desired.

   At first the eugenic purists tried to use it for racial 
purposes and found it quickly thinned pure blood lines to 
incipience. With the immune system self-containing a model of what 
a complete human genome looks like, the antigen recognition system 
could be improved by orders of magnitude through mixing maximally 
different tissue expressions of the genome.

   The more dissimilar the tissues mixed, the stronger the 
resultant response. In a bizarre feat of experimental logic, it 
was shown that if the entire human species were surgically melded 
into a common blood circulation system, the superultimate maximum 
of immune recognition would occur.

   This was theory, of course, but in practice it encouraged the 
largest wardrooms. The more people who would have their healthy 
parts joined, the more stable would be the whole. Societies and 
companies promoted these as retirement plans at first. It gave new 
meaning to the term "union meeting." If enough union members would 
join together, they could conceivably live forever, or at least a 
very long time -- 500 years by one conservative estimate.

   Once aging effects were identified with sufficient precision, 
only young healthy cells would be able to pass the common immune 
filter. And so the Sessiles came to be, the wardrooms their home.


   "And so you don't know how much this pisses me off, do you?" 
insists Nicholson, pulling Goldblum from his reverie over the 
treatise.

   "So, why don't you just have the location teams patch you in 
somewhere and have done with it? you're equity as much as anyone 
else here."

   "You don't understand. I think I've been Mobile all along, 
since the start. Sure, everybody thinks, "Oh, there goes Jack-
fucking-Nicholson, always working on something or the other." I 
got this and that replaced many times, but I've always been 
Mobile. I don't think I can take being stuck down in one place 
even for a little while."

   "Well, you're about to die a Mobile if you don't let the 
surgery kids do their jobs on you. I mean, what a waste, Jack. To 
die, to be gone just because everything lower than your diaphragm 
has been trashed. Just look at me."

   Goldblum stretches his torso out like he's a body builder. He's 
attached to equity from the waist up. 'Sure, when they took the 
original pelvic structure away, I thought, 'Oh, shit!,' but the 
funny thing was that I really couldn't shit anymore. All that 
baggage around my balls and my dick being gone. It really is 
better to live for periods without the testosterone poisoning the 
blood, you know.'

   He stopped and looked at Jack with his famous intensity. "But a 
casting call can put them back anytime. At least ones just as 
good, or even better." (It depends on what the director needs for 
the shots scheduled.)

   "Nah, it ain't removing the private parts. I had mine rebuilt 
several times." (So, the tabloid claims were true. They had been 
speculating on the nature of Nicholson's cosmetic surgery long 
before the human genome breakthrough.) "I just cannot take being 
pinned down on some equity hump somewhere."

   "Well, have it your own way then," Jeff sighs. "I'll miss 
having you around except in the reruns." He turned back to his 
terminal, preparing for another onslaught of lashing hypertextual 
lexia in his celebrated quirky manner. "If you change your mind, I 
can have triage here in minutes."

   This leaves Jack alone with his thoughts for a few seconds. Not 
long enough, though.


   He sits up with a start, jarring his blood vessel into another 
crimson aria. He sees himself walking across the ward. His face is 
a gray color and his belly is grossly distended and sloshing. 
There's an ill-defined lack of depth to this appearance of 
himself, like perspective is somehow being violated.

   "Whoa, what goes on here?" he says, and the apparition turns 
toward him.

   "Didn't you always want to play Ebeneezer and Marley both? This 
is your chance," it says.

   "But I ain't dead yet," he protests. "At least I think I would 
have known if I was to expire.'

   "Oh yes, I know. So it's safe to say that you will too."

   "Now wait a minute. You're not one of them union scabs the 
producers keep threatening to patch together when our agents are 
pushing too hard?"

   "No, no," muttered the shade. "I am truly your mortal coil 
after you have shuffled it off. You will in a few minutes, you 
know."

   "Then how come you are here now, talking to me?"

   "Oh come now," chided the specter. "What makes you think the 
ethereal is bound by any foolish notion of linear time? If our 
measure is not properly taken with that Judeo-Christian nonsense, 
why should we keep to strict timetables just for the convenience 
of your schedules?"

   "So I'm haunting myself before I'm dead?"

   "Precisely. Narcissism unbounded. You are, after all, dying 
unnecessarily because of an ego malfunction."

   "The hell, you say," Jack says, slapping his knee.

   "I would be careful about making such statements if I were you. 
Indeed, I was and I did too, so I guess any warning I might make 
is a pretty pointless recursion." The spirit turns to depart. "And 
speaking of preordination in this deterministic universe, I wonder 
why I'm inclined to go back and reincarnate in my own fetus?" And 
he disappears.


   Nicholson's senses are becoming acute, hypersensitive. Why is 
it that you become most clearly aware when it's not possible to do 
anything with it? Like the brilliant insights of drunkenness, the 
certainty of faith, and the promises of politicians. The 
background swells slowly to foreground.

   Bob Dylan in the corner sings to anyone who will listen. 
Songwriters like to attach themselves to actor's equity when they 
can.

   Dylan's few film appearances were mediocre to say the least, 
but his name recognition couldn't be slighted. So his right to 
throw his lot in with the mostly Hollywood crowd was never 
doubted. Songwriters usually hate to hang with the musicians and 
singers. Too much melodic talent who can't make good songs on 
their own but think they have a say in how fine art gets created. 
They practice good craft and call it art.

   Anyway, Mr. Zimmerman is over in the corner talking and singing 
his life away, with a soft banjo backup from somewhere. Since he 
has no hands in the immediate vicinity, it is unlikely that he is 
doing the strumming directly. James Caan is probably providing the 
backup, as he needs his hands for his parts. So Bob's a singing 
and a crooning:

   "Like, the original song went like this:

   'And she waaalks juuust like a woman,
   and she taaalks juuust like a woman,
   but she fuuucks juuust like a little girl'

   "And man, all the censors at the record company just turns all 
frown faces. You know what I mean. So before they would cut the 
record I had to change the lyrics to

   'And she taaalks juuust like a woman,
   but she fucks uuup just like a little girl'   

   "And then all the man censors, they turn to smiles and say, 
'Like, yeah, it ain't about doing the deed no more, so it's cool.' 
But all the lady censors still stay with frown faces, and they 
say, 'It still has the F-word in it. Think about all the children 
who'd be hearing it.' So I sits and writes some more until I get 
to

   'And she taaalks juuust like a woman,
   but she breaks uuup just like a little girl'

   "It screwed up the rhythm a little but then all the censors 
they turn to sunshine and that's how the song got the way you 
heard it. The children are supposed to be so fragile that some 
fucking's gonna pervert them all to bisexuals or something. They 
be screwin' anything that smiles, if they even hear me sing the F-
word."

   With these pearls of wisdom floating around in the background, 
who could not be creative to the max? Like listening to 
Springsteen tell about forming up the E Street Band on the _Great 
White Boss_ album.

   From over his shoulder:

   "We got Madonna's twat around here someplace, if you would 
rather try that."

   "No. no, thank you."

   "That was always the best part of her," smiles Warren Beatty's 
head, attached somewhere over by a further window. "The only part 
we saved, anyway. I can still smell it once a month or so."

   And Jack, he just keeps sitting there, trying to absorb all the 
sensation he can. Trying desperately to hold onto to all of it. To 
cherish it. To take it with him forever. Not just a memory, a 
hollow husk of abstraction, but the raw, pure instant of sensation 
itself.

   But he knows it is slipping through his fingers like 
quicksilver. And knowing what will come thereafter, Jack he just 
keeps sitting there, waiting for the tunnel of light.

---------------------------------------------------------------------
Stan Kulikowski II (stankuli@UWF.BITNET) is a research scholar in 
the College of Education at the University of West Florida. He is 
a specialist in educational technology and is currently developing 
projects for K-12 use of the Internet. He says this story is taken 
almost verbatim from a dream he had in the fall of 1992.
---------------------------------------------------------------------

---------------------------------------------------------------------
                            Sweet Peppers
                             AVIOTT JOHN
---------------------------------------------------------------------

   The flight was late. Somewhere over the Atlantic Rose's body 
began to rebel. The local time was three in the afternoon but her 
body was in another time zone, arguing with the clock, disputing 
her work schedule.

   "The fellow in 35C wants another vodka and orange. Should I 
serve him?" Shalini interrupted her misery. Shalini was Anglo-
Indian and looked more Indian than English, with her air of 
Oriental calm and placid ways. The unflappability was superficial, 
Rose knew, because she had seen the bottle of antacid Shalini 
carried in her overnight case.

   "Give it to him. We've another four hours to New York. Maybe 
he'll sleep after that."

   "No such luck. They've got a game of poker going there, 35A, B 
and C, wide awake and having a great time."

   "Are they travelling together?"

   "No. I'm positive not. They have a language problem, struggling 
to speak English, each of them with a different accent, but they 
understand each other somehow."

   "Boozers usually do," said Rose dryly, shifting her weight from 
one aching leg to another. Rose was proud of her legs, but lately 
they ached after every shift and faint bluish venous bumps were 
beginning to show after hours of standing. God, it was time for a 
change of profession. Her mother had varicose veins: great, ugly, 
big, knotted rivers whose very sight repelled Rose. Imagine the 
fate! What good the prettiest face in a swimsuit (or without) on 
the Riviera when you had legs like that?

   "Rose, you look awful," said Shalini conversationally as she 
bent down to get a tiny bottle of vodka from a cupboard. "Is 
anything the matter?"

   "Thanks. Tired, that's all."

   "Problems? Can I help?

   "I'm fine. Don't worry about me." _Piss off, you bitch. Go 
deliver your vodka and leave me alone_. Rose regretted the thought 
an instant later as Shalini sighed and set the vodka and orange 
juice on a small tray. She wasn't too bad, old Shalu wasn't. A 
very nice girl and pretty in a mousy, self-effacing kind of way. 
But she did get on Rose's nerves sometimes with her maternal 
solicitude and eternal calm. Rose never knew half the time what 
Shalu was thinking. That was the real problem with her. God, she 
wanted to move out of this cramped galley, just had to. On an 
impulse she took the tray from Shalini's unresisting hands.

   "Here, let me. I need a walk. I'll give it to him. 35C, did you 
say?"

   "Thank you." Shalu sounded absurdly grateful. The poor kid was 
tired too. "And don't forget to collect three dollars from him. 
He's one of those who forgets to pay, you know."

   The lighting was dim and exhausted passengers sprawled in their 
narrow seats, trying to find a position that eased the cramps in 
their legs. These long flights were a bugger, Rose thought. She 
and the rest of the crew had boarded in London, but by then some 
of these people had already been in the plane for fifteen hours.

   She walked down the aisle. It was good to walk and she carried 
her slim body erect, suddenly proud. The airline had long ago 
discovered the secret of really captivating hostesses; not 
elaborate uniforms, but healthy bodies and happy faces.

   Shalini was right: the fellows in row 35 were not about to go 
to sleep. Their reading lights were on and the man in the middle 
had his dining tray folded down as a card table. A real mixed 
trio.

   "Your vodka and orange."

   Rose had been working at this job for seven years and out of 
habit automatically appraised and categorized her passengers. 35A, 
by the window, was a muscular young fellow with close-cropped hair 
and prominent, twitching jaw muscles which indicated a hair-
trigger temper and an inclination to physical violence when 
frustrated. He unsmilingly clutched his cards close to his face. 
35B was plump, the edge of the dining tray pressing into his 
belly. He was voluble, waving his arms animatedly, speaking with a 
thick Russian accent and smiling. She noted though that the smile 
never reached his eyes.

   35C was a surprise, the man who'd ordered his third vodka. She 
expected an unshaven wino, but instead met a pair of steady brown 
eyes. In contrast to 35B, the mouth did not smile at all, but the 
eyes were warm and friendly with a humorous glint to them, so that 
he looked as though he were smiling at her.

   "Thank you." He was lean and his distinguished features carried 
the slightly bored expression that sometimes went with refinement, 
but he seemed to be on the best of terms with the other two. He 
was dressed in a plain gray business suit; expensive, very 
expensive, Rose decided at a glance. However, she remembered 
Shalu's warning.

   "Three dollars, please."

   The man smiled faintly and held out a hundred dollar bill.

   "Don't you have something smaller?"

   "Sorry."

   Rose bit her lip in annoyance. "I'll see if my colleague has 
change. Back in a minute."

   "I'll come with you. I need to stretch my legs." He put down 
his cards and excused himself for a minute with words and 
gestures. 35B waved a hand and began to deal the next round for 
two. Rose was aware of his eyes on her back as she walked down the 
aisle to the kitchen area. She pushed aside the curtain but Shalu 
was not there, probably gone to take a cup of coffee into the 
cockpit. Rose was sure Shalu had a wee bit of a crush on the 
copilot although she never talked about such things.

   "My colleague's not here at the moment. I'll bring you the 
change in a few minutes."

   "I'd like to stand for a while. I'll wait." He leaned an elbow 
against the small working surface in an attitude of settling down.

   "Win much?" She was instantly angry with herself for asking. 
She didn't want to start a conversation with this man, but his 
self-assured manner prompted the question.

   "Three vodkas." He rolled his eyes. "And they insisted on 
paying right away."

   "You could have said no."

   "That would have been very bad form. You don't gamble, do you?"

   "No," after a slight pause, "don't play cards," she qualified. 
He smiled at her, looking her up and down.

   "I thought as much."

   "Why?"

   "Can't explain it. Simply a strong hunch."

   "But why? There has to be a reason. You look like the sort of 
person who has a reason for everything?"

   "Do I?"

   "Yes, and don't duck my question."

   "I felt your disapproval in the small of my back when you 
walked up that aisle bringing me that vodka and orange. The other 
girl warned you, didn't she, said this was my third?"

   Rose did not reply.

   "Didn't she?" he repeated.

   "Something like that," she admitted, annoyed that she had been 
so transparent to him.

   "And do you know why I didn't pay? Because the other two don't 
have a cent on them and they're too proud to admit it. I tried 
desperately to let them win, but the harder I tried, the more they 
lost." The man took a deep breath and looked back down the aisle. 
"Will you tell me how I'm going to get out of this jam?"

   "That's not my problem."

   "Tell you what. Why don't you come and say to me in front of 
those two that you made a mistake. Vodka and orange is free on 
transatlantic flights, something like that."

   "I couldn't do that. What if the other passengers heard?"

   "All right. I'll tell them it's free and you don't contradict 
me. Bring them whatever they want and I'll come back here to pay 
for it. Okay?"

   "I suppose I could do that," she said doubtfully.

   "Good." He slapped the hundred dollar bill in her palm before 
she could refuse and went back to his poker game.

   Rose clued Shalu in on her deal with the man in the gray suit. 
Shalu was surprised.

   "Who is he?"

   "I don't know."

   "You agreed to his harebrained scheme without knowing anything 
about him? What's the matter with you, Rose? This is not like 
you."

   "What's wrong? I'll return his change before the plane comes in 
to land."

   The man did not come back to the galley for the rest of the 
flight. Rose tried to return the ninety-one dollars change just 
before the plane began its descent to land at Kennedy airport. He 
looked dismayed and imploringly motioned her not to give him money 
in front of his two poker companions. She backed away and had so 
much to do after the plane landed that she forgot about the man 
and his money.

   Shalu and Rose were talking and laughing together as they made 
their way to main entrance of the terminal building. There was the 
usual crush of cabs, buses and private cars trying to ease along 
the front and pick up people and they kept an eye open for the van 
with the airline's logo on its side. Rose suddenly came to a dead 
stop.

   "Oh my God, I forgot to give the man his change."

   "What? Oh, the ninety-one dollars. Serves him right for being 
careless."

   "I can't do that, Shalu. I have to give him his money. Besides, 
he might complain."

   "What will you do?"

   "Find out his name first."

   She zipped away and found a ground hostess with a clipboard in 
her hand. The passenger list! Rose unceremoniously snatched the 
clipboard and checked the name of the man in 35C. _Dr. Laszlo 
Nemeth_. So he was a doctor! "Well, Dr. Nemeth, you're going to 
get your money back," she said.

   "What?" asked the ground hostess, totally mystified by Rose's 
behavior.

   "Nothing," said Rose as she hurried off to the public address 
system next to the information desk.

   Half an hour later, paged and repaid, Dr. Nemeth offered Rose a 
taxi ride into the city, a ride she accepted because she had 
missed the airline's shuttle.

   "Will you go out with me for dinner tomorrow evening?" he asked 
directly when they were seated in the taxi. "Good food and 
conversation."

   "I don't know," she began doubtfully.

   "No hanky-panky," he promised.

   "Well, yes then," she laughed.

   He called for her at her Fifth Avenue hotel at six the next 
evening and they went to an off-Broadway show called _Slippers_ 
which she would never have thought of going to see, but it was 
great fun and she laughed so much during some of the scenes that 
she cried. When they came out it was raining heavily, a miserable 
night for man or beast to be out of doors, remarked Rose.

   "Let's go to my place," Laszlo suggested. "I'll cook something 
for us."

   "Do you like to cook?"

   "No," he admitted.

   Laszlo's apartment was large by New York standards, with split 
levels, two bedrooms, fully automated kitchen and a well-appointed 
living room.

   "Ah, let's see what we have," said Laszlo, peering reluctantly 
into the freezer compartment of the refrigerator. Rose took pity 
on him then and thrust him aside.

   "I love to cook. Let's see what you've got." She nodded in 
satisfaction. "Who does your shopping?"

   "My housekeeper. She comes in three times a week."

   "Now you go away." She shooed him out of the kitchen. "Come 
back here in an hour and help me with the table."

   Nemeth looked at her with gratitude and tiptoed out of the 
kitchen as she commanded.

   The crisper compartment was filled with enormous green sweet 
peppers so Rose had no problem deciding what to cook. She rummaged 
quickly through the cupboards until she found the ingredients she 
wanted, then set to work. While the green peppers steamed lightly, 
she cooked some rice and minced beef, opened a can of peeled 
tomatoes and finely chopped a mound of fresh mushrooms. Laszlo 
diffidently entered the kitchen an hour later and she set him to 
work opening a bottle of wine and laying the table. She did not 
allow him to see what was cooking.

   "You'll see when it's served," she said and shooed him away 
again.

   He had prepared the table very nicely and she set down the 
covered dish in the middle of the table.

   Laszlo gingerly raised the lid and feasted on the vision that 
met his sight. Peppers stuffed to bursting with a mixture of 
cooked rice, minced beef and mushrooms, their green contrasting 
beautifully with the simmering pale red of the spicy tomato sauce. 

   Laszlo Nemeth's eyes filled with tears. They looked up to meet 
hers. "This is a recipe from my old country you know."

   "Yes, I know."

   "My mother was from Budapest. She died last month in Austria. 
I've just come back from the funeral."

   "Let's eat before it gets cold," said Rose, who didn't like the 
melancholy turn the conversation was taking.

   Laszlo Nemeth ate well and spoke entertainingly throughout the 
meal. Rose laughed at his jokes and together they drank two 
bottles of wine. Rose was feeling slightly tipsy after the meal 
but sobered in a second when Laszlo suddenly turned solemn and 
proposed marriage to her.

   Bells tinkled faintly at the back of Rose's head; whether 
wedding chords or warning chimes was not clear. She lowered her 
head and the stuffed peppers swam before her eyes, melted and 
reformed with knotted blue veins on their surface. She 
determinedly thrust aside the image and all concomitant 
forebodings of doom, raising her eyes and her glass to his.

   "Yes," she said. "Yes."

---------------------------------------------------------------------
Aviott John (avjohn@iiasa.ac.at) is a science writer and science 
reference librarian at an international research institute in 
Austria. He has written over fifty short stories and nine novel-
length manuscripts, one of which won a Sinclair Fiction Award 
(London, 1982). He has published articles in science journals as 
well as fiction magazines in Austria, England and the U.S.
---------------------------------------------------------------------

---------------------------------------------------------------------
                              Dogbreath
                            ROBERT HURVITZ
---------------------------------------------------------------------

   I slammed down the phone and paced back and forth in my little 
dorm room, teeth clenched. "Fuck you, mom!" I shouted at the 
telephone. "You just don't understand!" I kicked the flimsy metal 
bedframe and it struck the wall noisily, chipping the plaster. 
Shit, I thought, I'm probably going to have to pay for that. I 
flopped down on the bed and gingerly poked at the damage. At my 
touch, specks of plaster flaked off and drifted down between the 
wall and the bed.

   The door opened, and my roommate Jed walked in.

   I looked up from the wall and said, "Hi, Jed."

   He stopped and considered this, shifting from foot to foot, 
absent-mindedly pulling at hair that was almost as dirty as his 
tie-dyed T-shirt. His hand dropped to his side, and he said, 
"Brian, why were you staring at the wall?"

   I sighed and sat up on the bed. "I just talked to my mom."

   Jed nodded quickly. "I see. Didn't go well?"

   "No. Not at all. She said she was sick and tired of paying for 
all of my CDs, and anyway, what was I doing spending all my time 
listening to music when I should be studying? She said if I wanted 
to buy CDs, I should get a job and pay for them myself."

   Jed winced. "Oh man. That's rough." He collapsed on his bed. "I 
had a job once. Did I ever tell you about that?"

   "Yeah, three or four times."

   "Oh." He shifted suddenly and wound up staring at me intently. 
"You sound like you're in really bad shape, Brian."

   "Well, yeah, I guess so."

   "I understand." He glanced nervously around the room. "Don't 
tell this to anyone, OK? Promise?"

   "Sure."

   "OK. Basement of the biochem building, across from the men's 
faculty restroom, there's a bulletin board where they post 
'subjects needed' fliers for experimental drugs. They pay a couple 
hundred bucks a pop, and you get a really weird trip, too." He 
rolled over and was silent.

   After a few moments, I said, "Uh, Jed?"

   Jed started snoring.

   I shrugged and lay back on the bed, thinking: A couple hundred 
bucks, huh? What the hell.


   I was on my way to the biochem building early the next morning. 
I hadn't wanted it to be that way, but Jed had set his alarm for 
5:30 a.m. and didn't wake up until after I'd thrown my shoes at 
him. He'd then stumbled around the room, apologizing for each 
noise he made and explaining that he had to get ready for a 
protest.

   I suppose it wouldn't have been so bad if I'd gone to bed at a 
reasonable hour, but instead I'd stayed up thinking about what CDs 
I would buy with two hundred dollars. As a result my mind was 
feeling spongy. It was as if my body was marching involuntarily to 
the biochem building and my mind was struggling vainly to keep up.

   When I reached the top of the brick stairs near the building's 
main entrance I saw a big, brown dog with matted fur sprawled on 
the ground motionless. As I walked by, it lifted up its head, 
looked at me, yawned.

   I wiggled my fingers at the dog and said, "Woof." It blinked 
and rested its head back upon the ground.

   Inside and down, I wandered the basement hallways, searching 
for the bulletin board of experimental delights. Five minutes 
later, at the end of one of the more dimly lit corridors, I came 
across the men's faculty
restroom, its door slightly ajar. Sure enough, on the opposite 
wall were the postings.

   Before I could read any of them, I heard a toilet flush and the 
men's faculty restroom door opened.

   "Oh! Excuse me!" said the man who stopped himself suddenly, 
apparently surprised at seeing me standing outside the bathroom. 
He had a large mass of graying black hair, glasses, a dark green 
corduroy jacket, an old leather briefcase, baggy gray pants, and 
tennis shoes. I assumed he was a professor. "But maybe," he 
continued, "this is a serendipitous moment. Were you, by any 
chance, perusing the experimental subject fliers?" He arched his 
eyebrows to indicate the colored postings on the bulletin board.

   "Uh, yeah," I replied. I don't know why, but I felt 
embarrassed. "Yeah, but I don't normally do things like this, you 
know. My roommate told me about them. This is -- Yeah, this is my, 
uh, first time doing this."

   "Of course, of course," the professor reassured me. He reached 
down and opened his briefcase, fished out a bright red sheet of 
paper. "But, you see, I was just about to post my own flier. 
Perhaps you'd be interested...?" He offered me the sheet of paper, 
smiling widely.

   "Oh, thanks," I said, accepting the flier. It read: "Subject 
needed for human-animal neural relationship experiment. $500. 
Please call Professor Billow at 642-0070 if interested." There 
were many cuts at the bottom of the paper to make stubs that one 
could rip off and take and that bore the words "Prof Billow, 642-
0070, $500."

   My eyes grew wide, and I whispered reverently, "Five hundred 
dollars."

   "Yes. Five hundred," said the professor proudly. He tilted his 
head in modest boastfulness. "I have a very large grant, you see, 
and that is why I offer so much more than they do." He indicated 
the bulletin board again with his eyebrows.

   I looked around, bewildered. Five hundred dollars! "Professor 
Billow," I said, "you have yourself a subject." I held out my 
hand, and he shook it.

   "Come, then," he said, clapping me on the shoulder. "My lab is 
on the other side of campus, in the Northwest Animal Facility."

   On the way out of the biochem building, Professor Billow stared 
at the lazy brown dog and said distractedly, "Just a moment." He 
fumbled through his jacket pockets, finally mumbled, "Aha!" and 
pulled out a little biscuit which he then tossed to the dog. The 
dog looked blankly at the biscuit and yawned. With a sigh, the 
professor started walking away muttering to himself and I hastened 
to catch up.


   I sat facing Professor Billow, his desk between us. He said 
while rummaging through his drawers, "This is just a technicality, 
Brian. You see, the importance of this research requires that you 
sign a form assuring the government that you won't disclose any 
information about the experiment to anyone. Here we go." He 
brought out a white sheet of paper filled with fine print and 
pushed it across the desk. "Just sign at the bottom."

   I looked at the text-crammed sheet. "What if I don't sign?"

   Professor Billow spread open his hands. "No experiment. No five 
hundred dollars."

   I signed.

   "Good!" The professor snatched the sheet back and filed it 
away. "Now, to the lab." He led me through a side door and into a 
large room littered with electronic equipment and in the center of 
which were two padded tables, one large and one small. Off to the 
side a grad student tapped away at the keyboard of a computer 
workstation. He glanced briefly at us when we walked in.

   "Mark!" called out the professor. "I'd like you to meet our 
subject, Brian."

   "Just a second," Mark said. He moved the computer's mouse 
around, clicked something, then stood up and came over. He was 
tall and thin with short blond hair. "Hi," he said. "My name's 
Mark." He motioned to the large table. "If you'll just step over 
there and lie down, we can get started."

   As soon as I did so, Mark threw a strap over my chest, and 
Professor Billow, on the other side, secured it.

   "Hey!" I said.

   "Don't worry, Brian," Mark reassured me. "It's for you own 
protection, really. You wouldn't want your arms flailing around 
and damaging equipment, now would you?" He shook his head no for 
me. "Besides, this was all written down on that paper you signed, 
remember?"

   "Oh. Hmmm."

   Three straps later, I was securely fastened to the table. There 
was no way I'd be able to damage anything. Mark slipped some kind 
of support device beneath my head and wrapped yet another strap 
across my forehead. "So you don't accidentally move your head and 
pull off any of the EEG leads," he explained. He smiled and left 
the room.

   Professor Billow lifted up a syringe and gave it a slight 
squirt, clearing the needle of air. "Merely a sedative, Brian. 
When you wake up, the experiment will be over."

   "Uh, professor..." I started to say, but he hushed me. I felt 
something cold wiped on my arm, and then a sharp pain as the 
hypodermic hit home.

   Out of the corner of my eye, I saw Mark reenter the room 
carrying an unconscious cocker spaniel. He placed it carefully on 
the smaller table, scratched its head, and strapped it just as 
securely down. Then he turned around and waved goodbye to me as 
everything went black.


   I felt awful. All of my senses seemed warped and alien. There 
was a constant whine in my ears, I couldn't open my eyes, and my 
breath was shallow. I suddenly realized that I was now lying on my 
stomach and had no clothes on. I wanted to panic but the sedative 
hadn't fully worn off.

   Slowly, I was able to pick out voices from the ringing. They 
sounded like Professor Billow's and Mark's voices but they were 
too harsh and metallic.

   "...small amount of neural trauma, but nowhere near as much as 
before," said the pseudo-Mark voice. "My feedback circuit worked, 
dammit!"

   "I'm not saying it didn't work," responded the professor's 
distorted voice, "I'm saying there's still too much trauma to risk 
a retransfer. Perhaps with this lesser amount, though, it'll be 
able to sufficiently reduce itself to a safer level over a 
reasonable period of time. In the meanwhile I suggest that you 
further refine your clever feedback circuit."

   I tried to say something, but all that came out was a growl.

   The professor's harsh voice continued, "Well, Brian's coming 
to. Who's going to explain this time? Perhaps you should, Mark. 
You could then also tell him how well your feedback circuit 
worked."

   I managed to force my eyes open and was shocked to see that 
everything was black and white.

   And there were muffled shouts and poundings and kickings on the 
door. I heard Mark say, "What the hell?" just as the door crashed 
open. People rushing into the lab shouted triumphantly, "Free the 
animals! Free the animals!"

   Mark ran out the back door. Professor Billow held his arms out 
in front of himself and shouted futilely, "Wait! Wait! You don't 
understand!" before being forced out of the lab by the mob of 
protesters chanting, "Animal killer! Animal killer!"

   A woman came over, gently pulled off electrodes that were still 
taped to me, and released the straps. "Don't worry, puppy, you're 
safe now," she said as she patted my head. Her voice was even more 
distorted than Mark's and the professor's had been.

   I concentrated hard on saying that I was not a puppy, that my 
name was Brian, and I would appreciate it if she would not pat me 
on the head, but all that came out were a few high-pitched, 
pathetic barks. I tried to sigh but, instead, panted.

   She lifted me up to her face and stared concernedly at my jaw. 
I started to whimper. "It's OK," she said in a tone that was 
trying to be soothing but actually sounded demonic. "Is something 
wrong with your mouth? Were they experimenting on you?" Then she 
pinched up her face and looked away. "Whew. With breath like that, 
they must have done something." She put me down on the floor and 
said, "Sit."

   I was too stunned to run away. Everything was very tall. I was 
very short. Lots of very tall people were rushing back and forth 
breaking equipment. The jagged crunches of destruction were 
agonizing to listen to, but after the pillaging was over, I 
noticed that almost all of the background whining was gone.

   Protesters came by and patted me on the head, smiling and 
saying silly things in that now universal harsh tone of voice. 
Then they started up the "Free the Animals!" chant again and left 
the lab, presumably in search of another.

   With growing dread I looked at my own body and saw that I was a 
cocker spaniel. I jerked my head up and stared at the other table.

   I was able to see my arm, tensed and straining against the 
straps with which Mark and the professor had so carefully bound 
me.

   One of the protesters had stayed behind and he was leaning 
heavily against the large table, his face in his hands. It took me 
a moment to realize it was Jed. He was wearing the same clothes as 
the previous day but, in black and white, the tie-dye was a lot 
harder to recognize.

   "Oh God, Brian," Jed was saying. "I'm sorry. I'm so sorry."

   There was one last whine still audible in the lab. It was a 
periodic whine, not constant like all the others had been, and it 
just then dawned on me that it was coming from my body up there on 
the table. The whine would last a few seconds, be broken by a 
sharp intake of breath, and then continue.

   "I'm sorry," Jed repeated.

   The woman who had freed me came back into the lab and said, 
"Hey."

   Jed's head snapped up, startled. "Huh? Oh. Hi, Wendy. How ya 
doin'?" His metallic voice was strained and his face showed pain.

   "Come on, Jed," she said. "You're missing out on all the fun." 
She gave him a tentative smile but he just stared at the floor. 
"Hey, Jed, don't worry about this guy. He's probably just having a 
really bad trip. Anyway, the police'll know what to do with him."

   "No, no, that's not... It's..." Jed looked back up at her. 
"He's my roommate. His name is Brian."

   They stared at each other for a few seconds.

   "This is all my fault," Jed finally said.

   "Oh, Jed, no, don't say that. It's not your fault. It's tragic 
and awful, but it's not your fault."

   Jed was silent.

   Wendy touched his arm. "Let's go outside, Jed. We can sit down 
on some grass and you can tell me about Brian."

   I ran out of the lab.


   The next few hours were a blur. I ran madly through campus, 
through various buildings, dodging between students, making 
bicycles screech to stops. I finally collapsed on the brick steps 
of the biochem building, panting heavily.

   After a few minutes I heard some peculiar barkings. It wasn't 
normal barking; it was barking out of which I could decipher 
English words.

   "Hi," the bark said. "My name's Chuck. What's yours?"

   I looked up and saw the dog that had been napping at the top of 
these steps this morning. With a bit of concentration I barked, 
"My name's Brian."

   "Well, Brian, in case you were wondering: No, dogs don't 
communicate like this. I was also one of Professor Billow's 
subjects. You're the sixth."

   "The sixth?"

   "Yup. And now with the lab destroyed it looks like you'll be 
the last. Unfortunately, that also means we won't be able to be 
retransfered. Billow was keeping our bodies in another room in the 
lab. I suppose the police will find them, and Billow will be 
brought up on criminal charges or something."

   I stared at Chuck.

   "Hey, Brian, don't worry too much about it. It's not such a bad 
life. You get to lie around and nap a lot. Food isn't very scarce, 
really, you just have to know where to look. It can actually be a 
fun life, but it takes some getting used to."

   I continued to stare at Chuck.

   "Come on, Brian. Follow me and I'll introduce you to the 
others."

   I nervously stood up.

   "There you go, Brian. You'll see; it's not so bad. You've even 
got one good thing going for you already."

   "Oh?" I barked. "And what's that?"

   "You've got great smelling breath."
   
---------------------------------------------------------------------
Robert Hurvitz (hurvitz@cory.berkeley.edu) is a graduate of UC 
Berkeley's Computer Science department, and is currently working 
in San Francisco. He is a frequent contributor to InterText.
---------------------------------------------------------------------

---------------------------------------------------------------------
                           Our Page of Ads
---------------------------------------------------------------------

                              _QUANTA_

   Publishing for three years now, Dan Appelquist's _Quanta_ 
magazine (ISSN 1053-8496) is an electronically distributed journal 
of Science Fiction and Fantasy. As such, each issue contains 
fiction by amateur authors. _Quanta_ is published in ASCII and 
PostScript. Submissions should be sent to quanta@andrew.cmu.edu. 
Requests to be added to the distribution list should be sent to 
one of the following depending on which version of the magazine 
you'd like to receive.

             quanta+requests-postscript@andrew.cmu.edu
                                or
               quanta+requests-ascii@andrew.cmu.edu

             quanta+requests-postscript@andrew.BITNET
                                or
               quanta+requests-ascii@andrew.BITNET

Send mail only -- no interactive messages or files please.
The main FTP archive for _Quanta_ issues and back issues is:

             Host: export.acs.cmu.edu IP: 128.2.35.66
                     Directory: /pub/quanta

               (In Europe): lth.se IP: 130.235.16.3

ASCII Quanta issues are also available via Gopher from the server 
at gopher-srv.acs.cmu.edu, port 70, in the Archives directory.

---------------------------------------------------------------------

                         OTHER NET MAGAZINE

   In addition to _InterText_ and _Quanta_, there are lots of 
other net-distributed magazines out there. Here are a few we know 
about. If you know about more, feel free to drop us a line!

   _CORE_ is an entirely electronic journal dedicated to 
publishing the best, freshest prose and poetry being created in 
cyberspace. It is edited by the Electronic Frontier Foundation's 
Rita Rouvalis, award-winning editor of _EFFector_. It appears in 
ASCII format. For more information, mail rita@eff.org.

   _DARGONZINE_ is an electronic magazine printing stories written 
for the Dargon Project, a shared-world anthology created by David 
"Orny" Liscomb in his now-retired magazine, _FSFNet_. The Dargon 
Project contains stories with a fantasy fiction/sword and sorcery 
flavor. _DargonZine_ is available in ASCII format. For a 
subscription, please send a request to the editor, Dafydd, at 
white@duvm.BITNET. This request should contain your full user ID, 
as well as your full name. Internet subscribers will receive their 
issues in mail format.

   _THE GUILDSMAN_ is devoted to role-playing games and amateur 
fantasy/SF fiction. At this time, the Guildsman is available in 
LATEX source and PostScript formats via both email and anonymous 
ftp without charge to the reader. For more information, email 
jimv@ucrmath.ucr.edu (internet) or ucsd!ucrmath!jimv (uucp).

---------------------------------------------------------------------

                      CONTRIBUTE TO INTERTEXT!

   All of the stories that make up _InterText_ come from people 
out in the net, and we aren't able to publish without submissions 
from folks like you! Write to Jason Snell 
(jsnell@ocf.Berkeley.edu) for writing guidelines, if you want 
them. Any genre is fine and length is rarely a concern. We like it 
if you haven't posted the story to a network newsgroup, and we 
won't allow the use of copyrighted characters (e.g., Star Trek). 
Submissions can be in ASCII or, for those with the ability, RTF 
(Interchange) format. Macintosh users can send binhexed word 
processor files of about any type (Microsoft Word is best, 
however).

---------------------------------------------------------------------

                 BACK ISSUES OF INTERTEXT AND ATHENE

The most quickly-updated anonymous FTP sites are:

    network.ucsd.edu     (128.54.16.3)   in /intertext
    ftp.eff.org          (192.88.144.4)  in /pub/journals/InterText

Issues also end up at the following sites eventually:

    cs.ubc.ca             (137.82.8.5)   in
                                  /pub/archive/mirror/EFF/journals
    wuarchive.wustl.edu  (128.252.135.4) in /mirrors2/EFF/journals
    nic.switch.ch        (130.59.1.40)   in /docs/magazine

If you can't FTP, mail jsnell@ocf.berkeley.edu for instrustions on 
how to "FTP by mail." You may request back issues from us directly, 
but we must handle such requests manually: a time-consuming process.

If you have CompuServe, you can read our ASCII issues in the 
Electronic Frontier Foundation Forum, accessible by typing GO EFFSIG. 
We're located in the "Zines from the Net" section of the EFFSIG 
forum.

---------------------------------------------------------------------
          Our next issue is scheduled for March 15, 1993.
---------------------------------------------------------------------
                    In the event of a water landing,
                 use your monkey as a flotation device.
---------------------------------------------------------------------