“Good God, the indoctrination period.”
“Exactly. Oh, he has flashes—like the dream he told you about. He could be rehabilitated—but I’m afraid it’s too late now. If only we’d caught him before he committed an overt murder— But we can’t possibly risk putting his story on record now, even as an insanity defense. So.”
“So,” Mearson said. “I’ll make the call now. And then go see him again. Hate to, but it’s got to be done.”
He pushed a button on the intercom. “Dorothy, get me Mr. Hodge at the Midland Realty Company. When you get him, put the call on my private line.”
Galbraith left while he was waiting, and a moment later one of his phones rang and he picked it up.
“Hodge?” he said, “Mearson here. Your phone secure?… Good. Code eighty-four. Remove the card of Lorenz Kane—L-o-r-e-n-z K-a-n-e—from the reality file at once… Yes, it’s necessary and an emergency. I’ll submit a report tomorrow.”
He took a pistol from a desk drawer and a taxi to the courthouse. He arranged an audience with his client, and as soon as Kane came through the door—there was no use waiting—he shot him dead. He waited the minute it always took for the body to vanish, and then went upstairs to the chambers of Judge Amanda Hayes to make a final check.
“Hi, Your Honor,” he said. “Somebody recently was telling me about a man named Lorenz Kane, and I don’t remember who it was. Was it you?”
“Never heard the name, Morty. It wasn’t me.”
“You mean ‘It wasn’t I.’ Must’ve been someone else. Thanks, Your Judgeship. Be seeing you.”
RECESSIONAL
The king my liege lord is a discouraged man. We understand and do not blame him, for the war has been long and bitter and there are so pathetically few of us left, yet we wish that it were not so. We sympathize with him for having lost his Queen, and we too all loved her—but since the Queen of the Blacks died with her, her loss does not mean the loss of the war. Yet our King, he who should be a tower of strength, smiles weakly and his words of attempted encouragement to us ring false in our ears because we hear in his voice the undertones of fear and defeat. Yet we love him and we die for him, one by one.
One by one we die in his defense, here upon this blooded bitter field, churned muddy by the horses of the Knights—while they lived; they are dead now, both ours and the Black ones—and will there be an end, a victory?
We can only have faith, and never become cynics and heretics, like my poor fellow Bishop Tibault. “We fight and die; we know not why,” he once whispered to me, earlier in the war at a time when we stood side by side defending our King while the battle raged in a far corner of the field.
But that was only the beginning of his heresy. He had stopped believing in a God and had come to believe in gods, gods who play a game with us and care nothing for us as persons. Worse, he believed that our moves are not our own, that we are but puppets fighting in a useless war. Still worse—and how absurd!—that White is not necessarily good and Black is not necessarily evil, that on the cosmic scale it does not matter who wins the war!
Of course it was only to me, and only in whispers, that he said these things. He knew his duties as a bishop. He fought bravely. And died bravely, that very day, impaled upon the lance of a Black Knight. I prayed for him: God, rest his soul and grant him peace; he meant not what he said.
Without faith we are nothing. How could Tibault have been so wrong? White must win. Victory is the only thing that can save us. Without victory our companions who have died, those who here upon this embattled field have given their lives that we may live, shall have died in vain. Et tu, Tibault.
And you were wrong, so wrong. There is a God, and so great a God that He will forgive your heresy, because there was no evil in you, Tibault, except as doubt—no, doubt is error but it is not evil.
Without faith we are noth—
But something is happening! Our Rook, he who was on the Queen’s side of the field in the Beginning, swoops toward the evil Black King, our enemy. The villainous one is under attack—and cannot escape. We have won! We have won!
A voice in the sky says calmly, “Checkmate.”
We have won! The war, this bitter stricken field, was not in vain. Tibault, you were wrong, you were—
But what is happening now? The very Earth tilts; one side of the battlefield rises and we are sliding—White and Black alike into—
—into a monstrous box and I see that it is a mass coffin in which already lie dead—
IT IS NOT FAIR; WE WON! GOD, WAS TIBAULT RIGHT? IT IS NOT JUST; WE WON!
The King, my liege lord, is sliding too across the squares—
IT IS NOT JUST; IT IS NOT RIGHT; IT IS NOT…
EINE KLEINE NACHTMUSIK
(In collaboration with Carl Onspaugh)
His name was Dooley Hanks and he was One of Us, by which I mean that he was partly a paranoiac, partly a schizophrenic, and mostly a nut with a strong idée fixe, an obsession. His obsession was that someday he’d find The Sound that he’d been looking for all his life, or at least all of his life since twenty years ago, in his teens, when he had acquired a clarinet and learned how to play it. Truth to tell, he was only an average musician, but the clarinet was his rod and staff, and it was the broomstick that enabled him to travel over the face of Earth, on all the continents, seeking The Sound. Playing a gig here and a gig there, and then, when he was ahead by a few dollars or pounds or drachmas or rubles he’d take a walking tour until his money started to run out, then start for the nearest city big enough to let him find another gig.
He didn’t know what The Sound would sound like, but he knew that he’d know it when he heard it. Three times he’d thought he’d found it. Once, in Australia, the first time he’d heard a bull-roarer. Once, in Calcutta, in the sound of a musette played by a fakir to charm a cobra. And once, west of Nairobi, in the blending of a hyena’s laughter with the voice of a lion. But the bull-roarer, on second hearing, was just a noise; the musette, when he’d bought it from the fakir for twenty rupees and had taken it home, had turned out to be only a crude and raucous type of reed instrument with little range and not even a chromatic scale; the jungle sounds had resolved themselves finally into simple lion roars and hyena laughs, not at all The Sound.
Actually Dooley Hanks had a great and rare talent that could have meant much more to him than his clarinet, a gift of tongues. He knew dozens of languages and spoke them all fluently, idiomatically and without accent. A few weeks in any country was enough for him to pick up the language and speak it like a native. But he had never tried to cash in on this talent, and never would. Mediocre player though he was, the clarinet was his love.
Currently, the language he had just mastered was German, picked up in three weeks of playing with a combo in a beerstube in Hannover, West Germany. And the money in his pocket, such as it was, was in marks. And at the end of a day of hiking, augmented by one fairly long lift in a Volkswagen, he stood in moonlight on the banks of the Weser River. Wearing his hiking clothes and with his working clothes, his good suit, in a haversack on his back. His clarinet case in his hand; he always carried it so, never trusting it to a suitcase, when he used one, or to a haversack when he was hiking.
Driven by a demon, and feeling suddenly an excitement that must be, that could only be, a hunch, a feeling that at long last he was really about to find The Sound. He was trembling a little; he’d never had the hunch this strongly before, not even with the lions and the hyenas, and that had been the closest.
But where? Here, in the water? Or in the next town? Surely not farther than the next town. The hunch was that strong. That tremblingly strong. Like the verge of madness, and suddenly he knew that he would go mad if he did not find it soon. Maybe he was a little mad already.
Staring over moonlit water. And suddenly something disrupted its surface, flashed sil
ently white in the moonlight and was gone again. Dooley stared at the spot. A fish? There had been no sound, no splash. A hand? The hand of a mermaid swum upstream from the North Sea beckoning him? Come in, the water’s fine. (But it wouldn’t be; it was cold.) Some supernatural water sprite? A displaced Rhine Maiden in the Weser?
But was it really a sign? Dooley, shivering now at the thought of what he was thinking, stood at the Weser’s edge and imagined how it would be…wading out slowly from the bank, letting his emotions create the tune for the clarinet, tilting his head back as the water became deeper so that the instrument would stick out of the water after he, Dooley, was under it, the bell of the clarinet last to submerge. And the sound, whatever sound there was, being made by the bubbling water closing over them. Over him first and then the clarinet. He recalled the clichéd allegation, which he had previously viewed with iconoclastic contempt but now felt almost ready to accept, that a drowning person was treated to a swift viewing of his entire life as it flashed before his eyes in a grand finale to living. What a mad montage that would be! What an inspiration for the final gurglings of the clarinet. What a frantic blending of the whole of his wild, sweetly sad, tortured existence, just as his straining lungs expelled their final gasp into a final note and inhaled the cold, dark water. A shudder of breathless anticipation coursed through Dooley Hanks’s body as his fingers trembled with the catch on the battered clarinet case.
But no, he told himself. Who would hear? Who would know? It was important that someone hear. Otherwise his quest, his discovery, his entire life would be in vain. Immortality cannot be derived from one’s solitary knowledge of one’s greatness. And what good was The Sound if it brought him death and not immortality?
A blind alley. Another blind alley. Perhaps the next town. Yes, the next town. His hunch was coming back now. How had he been so foolish as to think of drowning? To find The Sound, he’d kill if he had to—but not himself. That would make the whole gig meaningless.
Feeling as one who had had a narrow escape, he turned and walked away from the river, back to the road that paralleled it, and started walking toward the lights of the next town. Although Dooley Hanks had no Indian blood that he knew of, he walked like an Indian, one foot directly in front of the other, as though on a tightrope. And silently, or as nearly silently as was possible in hiking boots, the ball of his foot coming down first to cushion each step before his heel touched the roadway. And he walked rapidly because it was still early evening and he’d have plenty of time, after checking in at a hotel and getting rid of his haversack, to explore the town awhile before they rolled up the sidewalks. A fog was starting to roll in now.
The narrowness of his escape from the suicidal impulse on the Weser’s bank still worried him. He’d had it before, but never quite so strongly. The last time had been in New York, on top of the Empire State Building, over a hundred stories above the street. It had been a bright, clear day, and the magic of the view had enthralled him. And suddenly he had been seized by the same mad exultation, certain that a flash of inspiration had ended his quest, placed the goal at his fingertips. All he need do was take his clarinet from the case, assemble it. The magic view would be revealed in the first clear notes of the instrument and the heads of the other sightseers would turn in wonder. Then the contrasting gasp as he leaped into space, and the wailing, sighing, screaming notes, as he hurled pavementward, the weird melody inspired by the whirling color scene of the street and sidewalk and people watching in horrified fascination, watching him, Dooley Hanks, and hearing The Sound, his sound, as it built into a superb fortissimo, the grand finale of his greatest solo—the harsh final note as his body slammed into the sidewalk and fused flesh, blood and splintered bone with concrete, forcing a final, glorious expulsion of breath through the clarinet just before it left his lifeless fingers. But he’d saved himself by turning back and running for the exit and the elevator.
He didn’t want to die. He’d have to keep reminding himself of that. No other price would be too great to pay.
He was well into town now. In an old section with dark, narrow streets and ancient buildings. The fog curled in from the river like a giant serpent hugging the street at first, then swelling and rising slowly to blot and blur his vision. But through it, across the cobbled street, he saw a lighted hotel sign, Linter den Linden. A pretentious name for so small a hotel, but it looked inexpensive and that was what he wanted. It was inexpensive all right, and he took a room and carried his haversack up to it. He hesitated whether to change from his walking clothes to his good suit, and decided not to. He wouldn’t be looking for an engagement tonight; tomorrow would be time for that. But he’d carry his clarinet, of course; he always did. He hoped he’d find a place to meet other musicians, maybe be asked to sit in with them. And of course he’d ask them about the best way to obtain a gig here. The carrying of an instrument case is an automatic introduction among musicians. In Germany, or anywhere.
Passing the desk on his way out he asked the clerk—a man who looked fully as old as the hostelry itself—for directions toward the center of town, the lively spots. Outside, he started in the direction the old man had indicated, but the streets were so crooked, the fog so thick, that he was lost within a few blocks and no longer knew even the direction from which he had come. So he wandered on aimlessly and in another few blocks found himself in an eerie neighborhood. This eeriness, without observable cause, unnerved him and for a panicked moment he started to run to get through the district as fast as he could, but then he stopped short as he suddenly became aware of music in the air—a weird, haunting whisper of music that, after he had listened to it a long moment, drew him along the dark street in search of its source. It seemed to be a single instrument playing, a reed instrument that didn’t sound exactly like a clarinet or exactly like an oboe. It grew louder, then faded again. He looked in vain for a light, a movement, some clue to its birthplace. He turned to retrace his steps, walking on tiptoe now, and the music grew louder again. A few more steps and again it faded and Dooley retraced those few steps and paused to scan the somber, brooding building. There was no light behind any window. But the music was all around him now and—could it be coming up from below? Up from under the sidewalk?
He took a step toward the building, and saw what he had not seen before. Parallel to the building front, open and unprotected by a railing, a flight of worn stone steps led downward. And at the bottom of them, a yellow crack of light outlined three sides of a door. From behind that door came the music. And, he could now hear, voices in conversation.
He descended the steps cautiously and hesitated before the door, wondering whether he should knock or simply open it and walk in. Was it, despite the fact that he had not seen a sign anywhere, a public place? One so well-known to its habitués that no sign was needed? Or perhaps a private party where he would be an intruder?
He decided to let the question of whether the door would or would not turn out to be locked against him answer that question. He put his hand on the latch and it opened to his touch and he stepped inside.
The music reached out and embraced him tenderly. The place looked like a public place, a wine cellar. At the far end of a large room there were three huge wine barrels with spigots. There were tables and people, men and women both, seated at them. All with wine glasses in front of them. No steins; apparently only wine was served. A few people glanced at him, but disinterestedly and not with the look one gave an intruder, so obviously it was not a private party.
The musician—there was just one—was in a far corner of the room, sitting on a high stool. The room was almost as thick with smoke as the street had been thick with fog and Dooley’s eyes weren’t any too good anyway; from that distance he couldn’t tell if the musician’s instrument was a clarinet or an oboe or neither. Any more than his ears could answer that same question, even now, in the same room.
He closed the door behind him, and weaved hi
s way through the tables, looking for an empty one as close to the musician as possible. He found one not too far away and sat down at it. He began to study the instrument with his eyes as well as his ears. It looked familiar. He’d seen one like it or almost like it somewhere, but where?
“Ja, mein Herr?” It was whispered close to his ear, and he turned. A fat little waiter in lederhosen stood at his elbow. “Zinfandel? Burgundy? Riesling?”
Dooley knew nothing about wines and cared less, but he named one of the three. And as the waiter tiptoed away, he put a little pile of marks on the table so he wouldn’t have to interrupt himself again when the wine came.
Then he studied the instrument again, trying for the moment not to listen to it, so he could concentrate on where he’d once seen something like it. It was about the length of his clarinet, with a slightly larger, more flaring bell. It was made—all in one piece, as far as he could tell—of some dark rich wood somewhere in color between dark walnut and mahogany, highly polished. It had finger holes and only three keys, two at the bottom to extend the range downward by two semitones, and a thumb operated one at the top that would be an octave key.
He closed his eyes, and would have closed his ears had they operated that way, to concentrate on remembering where he’d seen something very like it. Where?
It came to him gradually. A museum, somewhere. Probably in New York, because he’d been born and raised there, hadn’t left there until he was twenty-four, and this was longer ago than that, like when he was still in his teens. Museum of Natural Science? That part didn’t matter. There had been a room or several rooms of glass cases displaying ancient and medieval musical instruments: viola da gambas and viola d’amores, sackbuts and panpipes and recorders, lutes and tambours and fifes. And one glass case had held only shawms and hautboys, both precursors of the modern oboe. And this instrument, the one to which he was listening now in thrall, was a hautboy. You could distinguish the shawms because they had globular mouthpieces with the reeds down inside; the hautboy was a step between the shawm and the oboe. And the hautboy had come in various stages of development from no keys at all, just finger holes, to half a dozen or so keys. And yes, there’d been a three-keyed version, identical to this one except that it had been light wood instead of dark. Yes, it had been in his teens, in his early teens, that he’d seen it, while he was a freshman in high school. Because he was just getting interested in music and hadn’t yet got his first clarinet; he’d still been trying to decide which instrument he wanted to play. That’s why the ancient instruments and their history had fascinated him for a brief while. There’d been a book about them in the high-school library and he’d read it. It had said— Good God, it had said that the hautboy had a coarse tone in the lower register and was shrill on the high notes! A flat lie, if this instrument was typical. It was smooth as honey throughout its range; it had a rich full-bodied tone infinitely more pleasing than the thin reediness of an oboe. Better even than a clarinet; only in its lower, or chalumeau, register could a clarinet even approach it.
The Fredric Brown Megapack Page 9
