Juan and Francisco yell. Skein follows their pointing fingers. Porpoises! A dozen of them, frisking around the bow, keeping just ahead of the boat, leaping high and slicing down into the blue water. Nilla gives a little cry of joy and rushes to the side to get a closer look. Throwing her arm self-consciously across her bare breasts. “You don’t need to do that,” Skein murmurs. She keeps herself covered. “How lovely they are,” she says softly. Sebastian comes up beside them. “Amigos,” he says. “They are. My friends.” The cavorting porpoises eventually disappear. The boat bucks bouncily onward, keeping close to the island’s beautiful empty palmy shore. Later they anchor, and he and Nilla swim masked, spying on the coral gardens. When they haul themselves on deck again it is almost noon. The sun is terrible. “Lunch?” Francisco asks. “We make you good lunch now?” Nilla laughs. She is no longer hiding her body. “I’m starved!” she cries.
“We make you good lunch,” Francisco says, grinning, and he and Juan go over the side. In the shallow water they are clearly visible near the white sand of the bottom. They have spear-guns; they hold their breaths and prowl. Too late Skein realizes what they are doing. Francisco hauls a fluttering spiny lobster out from behind a rock. Juan impales a huge pale crab. He grabs three conchs also, surfaces, dumps his prey on the deck. Francisco arrives with the lobster. Juan, below again, spears a second lobster. The animals are not dead; they crawl sadly in circles on the deck as they dry. Appalled, Skein turns to Sebastian and says, “Tell them to stop. We’re not that hungry.” Sebastian, preparing some kind of salad, smiles and shrugs. Francisco has brought up another crab, bigger than the first. “Enough,” Skein says. “Basta! Basta!” Juan, dripping, tosses down three more conchs. “You pay us good,” he says. “We give you good lunch.” Skein shakes his head. The deck is becoming a slaughterhouse for ocean life. Sebastian now energetically splits conch shells, extracts the meat, drops it into a vast bowl to marinate in a yellow-green fluid. “Basta!” Skein yells. Is that the right word in Spanish? He knows it’s right in Italian. Los hermanos look amused. The sea is full of life, they seem to be telling him. We give you good lunch. Suddenly Francisco erupts from the water, bearing something immense. A turtle! Forty, fifty pounds! The joke has gone too far. “No,” Skein says. “Listen, I have to forbid this. Those turtles are almost extinct. Do you understand that? Muerto. Perdido. Desaparecido. I won’t eat a turtle. Throw it back. Throw it back.” Francisco smiles. He shakes his head. Deftly he binds the turtle’s flippers with rope. Juan says, “Not for lunch, señor. For us. For to sell. Mucho dinero.” Skein can do nothing. Francisco and Sebastian have begun to hack up the crabs and lobsters. Juan slices peppers into the bowl where the conchs are marinating. Pieces of dead animals litter the deck. “Oh, I’m starving,” Nilla says. Her waist-strap is off too, now. The turtle watches the whole scene, beady-eyed. Skein shudders. Auschwitz, he thinks. Buchenwald. For the animals it’s Buchenwald every day.
Purple sand, blue-leaved trees. An orange sea gleaming not far to the west under a lemon sun. “It isn’t much farther,” the skullfaced man says. “You can make it. Step by step by step is how.”
“I’m winded,” Skein says. “Those hills—”
“I’m twice your age, and I’m doing fine.”
“You’re in better shape. I’ve been cooped up on spaceships for months and months.”
“Just a short way on,” says the skullfaced man. “About a hundred meters from the shore.”
Skein struggles on. The heat is frightful. He has trouble getting a footing in the shifting sand. Twice he trips over black vines whose fleshy runners form a mat a few centimeters under the surface; loops of the vines stick up here and there. He even suffers a brief fugue, a seven-second flashback to a day in Jerusalem. Somewhere at the core of his mind he is amused by that: a flashback within a flashforward. Encapsulated concentric hallucinations. When he comes out of it, he finds himself getting to his feet and brushing sand from his clothing. Ten steps onward the skullfaced man halts him and says, “There it is. Look there, in the pit.”
Skein sees a funnel-shaped crater right in front of him, perhaps five meters in diameter at ground level and dwindling to about half that width at its bottom, some six or seven meters down. The pit strikes him as a series of perfect circles making up a truncated cone. Its sides are smooth and firm, almost glazed, and the sand has a brown tinge. In the pit, resting peacefully on the flat floor, is something that looks like a golden amoeba the size of a large cat. A row of round blue-black eyes crosses the hump of its back. From the perimeter of its body comes a soft green radiance.
“Go down to it,” the skullfaced man says. “The force of its power falls off with the cube of the distance; from up here you can’t feel it. Go down. Let it take you over. Fuse with it. Make communion, Skein, make communion!”
“And will it heal me? So that I’ll function as I did before the trouble started?”
“If you let it heal you, it will. That’s what it wants to do. It’s a completely benign organism. It thrives on repairing broken souls. Let it into your head; let it find the damaged place. You can trust it. Go down.”
Skein trembles on the edge of the pit. The creature below flows and eddies, becoming first long and narrow, then high and squat, then resuming its basically circular form. Its color deepens almost to scarlet, and its radiance shifts toward yellow. As if preening and stretching itself. It seems to be waiting for him. It seems eager. This is what he has sought so long, going from planet to wearying planet. The skullfaced man, the purple sand, the pit, the creature. Skein slips his sandals off. What have I to lose? He sits for a moment on the pit’s rim; then he shimmies down, sliding part of the way, and lands softly, close beside the being that awaits him. And immediately feels its power.
He enters the huge desolate cavern that is the cathedral of Haghia Sophia. A few Turkish guides lounge hopefully against the vast marble pillars. Tourists shuffle about, reading to each other from cheap plastic guidebooks. A shaft of light enters from some improbable aperture and splinters against the Moslem pulpit. It seems to Skein that he hears the tolling of bells and feels incense prickling at his nostrils. But how can that be? No Christian rites have been performed here in a thousand years. A Turk looms before him. “Show you the mosyics?” he says. Mosyics. “Help you understand this marvelous building? A dollar. No? Maybe change money? A good rate. Dollars, marks, Eurocredits, what? You speak English? Show you the mosyics?” The Turk fades. The bells grow louder. A row of bowed priests in white silk robes files past the altar, chanting in—what? Greek? The ceiling is encrusted with gems. Gold plate gleams everywhere. Skein senses the terrible complexity of the cathedral, teeming now with life, a whole universe engulfed in this gloom, a thousand chapels packed with worshippers, long lines waiting to urinate in the crypts, a marketplace in the balcony, jeweled necklaces changing hands with low murmurs of negotiation, babies being born behind the alabaster sarcophagi, the bells tolling, dukes nodding to one another, clouds of incense swirling toward the dome, the figures in the mosaics alive, making the sign of the Cross, smiling, blowing kisses, the pillars moving now, becoming fat-middled as they bend from side to side, the entire colossal structure shifting and flowing and melting. And a ballet of Turks. “Show you the mosyics?” “Change money?” “Postcards? Souvenir of Istanbul?” A plump, pink American face: “You’re John Skein, aren’t you? The Communicator? We worked together on the big fusion-chamber merger in ’53.” Skein shakes his head. “It must be that you are mistaken,” he says, speaking in Italian. “I am not he. Pardon. Pardon.” And joins the line of chanting priests.
Purple sand, blue-leaved trees. An orange sea under a lemon sun. Looking out from the top deck of the terminal, an hour after landing, Skein sees a row of towering hotels rising along the nearby beach. At once he feels the wrongness: there should be no hotels. The right planet has no such towers; therefore this is another of the wrong ones.
He suffers from complete disorientation as he attempts to place h
imself in sequence. Where am I? Aboard a liner heading toward Abbondanza VI. What do I see? A world I have previously visited. Which one? The one with the hotels. The third out of seven, isn’t it?
He has seen this planet before, in flashforwards. Long before he left Earth to begin his quest he glimpsed those hotels, that beach. Now he views it in flashback. That perplexes him. He must try to see himself as a moving point traveling through time, viewing the scenery now from this perspective, now from that.
He watches his earlier self at the terminal. Once it was his future self. How confusing, how needlessly muddling! “I’m looking for an old Earthman,” he says. “He must be a hundred, hundred twenty years old. A face like a skull—no flesh at all, really. A brittle man. No? Well, can you tell me, does this planet have a life-form about this big, a kind of blob of golden jelly, that lives in pits down by the seashore, and—No? No? Ask someone else, you say? Of course. And perhaps a hotel room? As long as I’ve come all this way.”
He is getting tired of finding the wrong planets. What folly this is, squandering his last savings on a quest for a world seen in a dream! He would have expected planets with purple sand and blue-leaved trees to be uncommon, but no, in an infinite universe one can find a dozen of everything, and now he has wasted almost half his money and close to a year, visiting two planets and this one and not finding what he seeks.
He goes to the hotel they arrange for him.
The beach is packed with sunbathers, most of them from Earth. Skein walks among them. “Look,” he wants to say, “I have this trouble with my brain, an old injury, and it gives me these visions of myself in the past and future, and one of the visions I see is a place where there’s a skullfaced man who takes me to a kind of amoeba in a pit that can heal me, do you follow? And it’s a planet with purple sand and blue-leaved trees, just like this one, and I figure if I keep going long enough I’m bound to find it and the skullface and the amoeba, do you follow me? And maybe this is the planet after all, only I’m in the wrong part of it. What should I do? What hope do you think I really have?” This is the third world. He knows that he must visit a number of wrong ones before he finds the right one. But how many? How many? And when will he know that he has the right one?
Standing silent on the beach, he feels confusion come over him, and drops into fugue, and is hurled to another world. Purple sand, blue-leaved trees. A fat, friendly Pingalorian consul. “A skullfaced man? No, I can’t say I know of any.” Which world is this, Skein wonders? One that I have already visited, or one that I have not yet come to? The manifold layers of illusion dazzle him. Past and future and present lie like a knot around his throat. Shifting planes of reality; intersecting films of event. Purple sand, blue-leaved trees. Which planet is this? Which one? Which one? He is back on the crowded beach. A lemon sun. An orange sea. He is back in his cabin on the spaceliner. He sees a note in his own handwriting: You are a passenger aboard a ship heading for Abbondanza VI, and will be landing in a few days. So everything was a vision. Flashback? Flashforward? He is no longer able to tell. He is baffled by these identical worlds. Purple sand. Blue-leaved trees. He wishes he knew how to cry.
Instead of a client and a consultant for today’s communion, Skein has a client and a client. A man and a woman, Michaels and Miss Schumpeter. The communion is of an unusually intimate kind. Michaels has been married six times, and several of the marriages apparently have been dissolved under bitter circumstances. Miss Schumpeter, a woman of some wealth, loves Michaels but doesn’t entirely trust him; she wants a peep into his mind before she’ll put her thumb to the marital cube. Skein will oblige. The fee has already been credited to his account. Let me not to the marriage of true minds admit impediments. If she does not like what she finds in her beloved’s soul, there may not be any marriage, but Skein will have been paid.
A tendril of his mind goes to Michaels, now. A tendril to Miss Schumpeter. Skein opens his filters. “Now you’ll meet for the first time,” he tells them. Michaels flows to her. Miss Schumpeter flows to him. Skein is merely the conduit. Through him pass the ambitions, betrayals, failures, vanities, deteriorations, disputes, treacheries, lusts, generosities, shames, and follies of these two human beings. If he wishes, he can examine the most private sins of Miss Schumpeter and the darkest yearnings of her future husband. But he does not care. He sees such things every day. He takes no pleasure in spying on the psyches of these two. Would a surgeon grow excited over the sight of Miss Schumpeter’s Fallopian tubes or Michaels’s pancreas? Skein is merely doing his job. He is no voyeur, simply a Communicator. He looks upon himself as a public utility.
When he severs the contact, Miss Schumpeter and Michaels both are weeping.
“I love you!” she wails.
“Get away from me!” he mutters.
Purple sand. Blue-leaved trees. Oily orange sea.
The skullfaced man says, “Won’t you ever come to see that causality is merely an illusion, Skein? The notion that there’s a consecutive series of events is nothing but a fraud. We impose form on our lives, we talk of time’s arrow, we say that there’s a flow from A through G and Q to Z, we make believe everything is nicely linear. But it isn’t, Skein. It isn’t.”
“So you keep telling me.”
“I feel an obligation to awaken your mind to the truth. G can come before A, and Z before both of them. Most of us don’t like to perceive it that way, so we arrange things in what seems like a more logical pattern, just as a novelist will put the motive before the murder and the murder before the arrest. But the universe isn’t a novel. We can’t make nature imitate art. It’s all random, Skein, random, random!”
“Half a million?”
“Half a million.”
“You know I don’t have that kind of money.”
“Let’s not waste time, Mr. Coustakis. You have assets. Pledge them as collateral. Credit is easily obtained.” Skein waits for the inventor to clear his loan. “Now we can proceed,” he says, and tells his desk, “Get Nissenson into a receptive state.”
Coustakis says, “First let me get it clear. This man will see everything that’s in my mind? He’ll get access to my secrets?”
“No. No. I filter the communion with great care. Nothing will pass from your mind to his except the nature of the problem you want him to tackle. Nothing will come back from his mind to yours except the answer.”
“And if he doesn’t have the answer?”
“He will.”
“And if he goes into the transmission business for himself afterward?”
“He’s bonded,” Skein says curtly. “No chance of it. Let’s go, now. Up and together.”
“Skein? Skein? Skein? Skein?”
The wind is rising. The sand, blown aloft, stains the sky gray. Skein clambers from the pit and lies by its rim, breathing hard. The skullfaced man helps him get up.
Skein has seen this series of images hundreds of times.
“How do you feel?” the skullfaced man asks.
“Strange. Good. My head seems so clear!”
“You had communion down there?”
“Oh, yes. Yes.”
“And?”
“I think I’m healed,” Skein says in wonder. “My strength is back. Before, you know, I felt cut down to the bone, a minimum version of myself. And now. And now.” He lets a tendril of consciousness slip forth. It meets the mind of the skullfaced man. Skein is aware of a glassy interface; he can touch the other mind, but he cannot enter it. “Are you a Communicator too?” Skein asks, awed.
“In a sense. I feel you touching me. You’re better, aren’t you?”
“Much. Much. Much.”
“As I told you. Now you have your second chance, Skein. Your gift has been restored. Courtesy of our friend in the pit. They love being helpful.”
“Skein? Skein? Skein? Skein?”
We conceive of time either as flowing or as enduring. The problem is how to reconcile these concepts. From a purely formalistic point of view there exists no difficu
lty, as these properties can be reconciled by means of the concept of a duratio successiva. Every unit of time measure has this characteristic of a flowing permanence: an hour streams by while it lasts and so long as it lasts. Its flowing is thus identical with its duration. Time, from this point of view, is transitory; but its passing away lasts.
In the early months of his affliction he experienced a great many scenes of flashforward while in fugue. He saw himself outside the nineteenth-century mansion, he saw himself in a dozen lawyers’ offices, he saw himself in hotels, terminals, spaceliners, he saw himself discussing the nature of time with the skullfaced man, he saw himself trembling on the edge of the pit, he saw himself emerging healed, he saw himself wandering from world to world, looking for the right one with purple sand and blue-leaved trees. As time unfolded most of these flashforwards duly entered the flow of the present; he did come to the mansion, he did go to those hotels and terminals, he did wander those useless worlds. Now, as he approaches Abbondanza VI, he goes through a great many flashbacks and a relatively few flashforwards, and the flashforwards seem to be limited to a fairly narrow span of time, covering his landing on Abbondanza VI, his first meeting with the skullfaced man, his journey to the pit, and his emergence, healed, from the amoeba’s lair. Never anything beyond that final scene. He wonders if time is going to run out for him on Abbondanza VI.
The ship lands on Abbondanza VI half a day ahead of schedule. There are the usual decontamination procedures to endure, and while they are going on Skein rests in his cabin, counting minutes to liberty. He is curiously confident that this will be the world on which he finds the skullfaced man and the benign amoeba. Of course, he has felt that way before, looking out from other spaceliners at other planets of the proper coloration, and he has been wrong. But the intensity of his confidence is something new. He is sure that the end of his quest lies here.
Something Wild is Loose - 1969–72 - The Collected Stories of Robert Silverberg Volume Three Page 8
