"Let me ask you something," Miller said to his son. "This morning—I left the kitchen to get the newspaper."
Ted nodded. "Yeah. So?"
"I got up and went out of the room. How long was I gone? Not long, was I?" He searched for words, but his mind was a maze of disjointed thoughts. "I was sitting at the breakfast table with you all, and then I got up and went to look for the paper. Right? And then I came back in. Right?" His voice rose desperately. "I got up and shaved and dressed this morning. I ate breakfast. Hot cakes and coffee. Bacon. Right?"
"Right," Ted agreed. "So?"
"Like I always do."
"We only have hot cakes on Friday."
Miller nodded slowly. "That's right. Hot cakes on Friday. Because your uncle Frank eats with us Saturday and Sunday and he can't stand hot cakes, so we stopped having them on weekends. Frank is Marjorie's brother. He was in the Marines in the First World War. He was a corporal."
"Good-bye," Ted said, as Don came out to join him. "We'll see you this evening."
School books clutched, the boys sauntered off towards the big modern high school in the center of Berkeley.
Miller re-entered the house and automatically began searching the closet for his briefcase. Where was it? Damn it, he needed it. The whole Throckmorton account was in it; Davidson would be yelling his head off if he left it anywhere, like in the True Blue Cafeteria that time they were all celebrating the Yankees' winning the series. Where the hell was it?
He straightened up slowly, as memory came. Of course. He had left it by his work desk, where he had tossed it after taking out the research tapes. While Fleming was talking to him. Back at the History Agency.
He joined his wife in the kitchen. "Look," he said huskily. "Marjorie, I think maybe I won't go down to the office this morning."
Marjorie spun in alarm. "George, is anything wrong?"
"I'm—completely confused."
"Your hay fever again?"
"No. My mind. What's the name of that psychiatrist the PTA recommended when Mrs. Bentley's kid had that fit?" He searched his disorganized brain. "Grunberg, I think. In the Medical-Dental building." He moved towards the door. "I'll drop by and see him. Something's wrong—really wrong. And I don't know what it is."
Adam Grunberg was a large heavy-set man in his late forties, with curly brown hair and horn-rimmed glasses. After Miller had finished, Grunberg cleared his throat, brushed at the sleeve of his Brooks Bros, suit, and asked thoughtfully, "Did anything happen while you were out looking for the newspaper? Any sort of accident? You might try going over that part in detail. You got up from the breakfast table, went out on the porch, and started looking around in the bushes. And then what?"
Miller rubbed his forehead vaguely. "I don't know. It's all confused. I don't remember looking for any newspaper. I remember coming back in the house. Then it gets clear. But before that it's all tied up with the History Agency and my quarrel with Fleming."
"What was that again about your briefcase? Go over that."
"Fleming said it looked like a squashed Jurassic lizard. And I said—"
"No. I mean, about looking for it in the closet and not finding it."
"I looked in the closet and it wasn't there, of course. It's sitting beside my desk at the History Agency. On the Twentieth Century level. By my exhibits." A strange expression crossed Miller's face. "Good God, Grunberg. You realize this may be nothing but an exhibit? You and everybody else—maybe you're not real. Just pieces of this exhibit."
"That wouldn't be very pleasant for us, would it?" Grunberg said, with a faint smile.
"People in dreams are always secure until the dreamer wakes up," Miller retorted.
"So you're dreaming me," Grunberg laughed tolerantly. "I suppose I should thank you."
"I'm not here because I especially like you. I'm here because I can't stand Fleming and the whole History Agency."
Grunberg protested. "This Fleming. Are you aware of thinking about him before you went out looking for the newspaper?"
Miller got to his feet and paced around the luxurious office, between the leather-covered chairs and the huge mahogany desk. "I want to face this thing. I'm an exhibit. An artificial replica of the past. Fleming said something like this would happen to me."
"Sit down, Mr. Miller," Grunberg said, in a gentle but commanding voice. When Miller had taken his chair again, Grunberg continued, "I understand what you say. You have a general feeling that everything around you is unreal. A sort of stage."
"An exhibit."
"Yes, an exhibit in a museum."
"In the N'York History Agency. Level R, the Twentieth Century level."
"And in addition to this general feeling of—insubstantiality, there are specific projected memories of persons and places beyond this world. Another realm in which this one is contained. Perhaps I should say, the reality within which this is only a sort of shadow world."
"This world doesn't look shadowy to me." Miller struck the leather arm of the chair savagely. "This world is completely real. That's what's wrong. I came in to investigate the noises and now I can't get back out. Good God, do I have to wander around this replica the rest of my life?"
"You know, of course, that your feeling is common to most of mankind. Especially during periods of great tension. Where—by the way—was the newspaper? Did you find it?"
"As far as I'm concerned—"
"Is that a source of irritation with you? I see you react strongly to a mention of the newspaper."
Miller shook his head wearily. "Forget it."
"Yes, a trifle. The paperboy carelessly throws the newspaper in the bushes, not on the porch. It makes you angry. It happens again and again. Early in the day, just as you're starting to work. It seems to symbolize in a small way the whole petty frustrations and defeats of your job. Your whole life."
"Personally, I don't give a damn about the newspaper." Miller examined his wristwatch. "I'm going—it's almost noon. Old man Davidson will be yelling his head off if I'm not at the office by—" He broke off. "There it is again."
"There what is?"
"All this!" Miller gestured impatiently out the window. "This whole place. This damn world. This exhibition."
"I have a thought," Doctor Grunberg said slowly. "I'll put it to you for what it's worth. Feel free to reject it if it doesn't fit." He raised his shrewd, professional eyes. "Ever see kids playing with rocket ships?"
"Lord," Miller said wretchedly. "I've seen commercial rocket freighters hauling cargo between Earth and Jupiter, landing at La Guardia Spaceport."
Grunberg smiled slightly. "Follow me through on this. A question. Is it job tension?"
"What do you mean?"
"It would be nice," Grunberg said blandly, "to live in the world of tomorrow. With robots and rocket ships to do all the work. You could just sit back and take it easy. No worries, no cares. No frustrations."
"My position in the History Agency has plenty of cares and frustrations." Miller rose abruptly. "Look, Grunberg. Either this is an exhibit on R level of the History Agency, or I'm a middle-class businessman with an escape fantasy. Right now I can't decide which. One minute I think this is real, and the next minute—"
"We can decide easily," Grunberg said.
"How?"
"You were looking for the newspaper. Down the path, on to the lawn. Where did it happen? Was it on the path? On the porch? Try to remember."
"I don't have to try. I was still on the pavement. I had just jumped over the rail past the safety screens."
"On the pavement. Then go back there. Find the exact place."
"Why?"
"So you can prove to yourself there's nothing on the other side."
Miller took a deep slow breath. "Suppose there is?"
"There can't be. You said yourself: only one of the worlds can be real. This world is real—" Grunberg thumped his massive mahogany desk. "Ergo, you won't find anything on the other side."
"Yes," Miller said, after a moment's silence. A peculiar expres
sion cut across his face and stayed there. "You've found the mistake."
"What mistake?" Grunberg was puzzled. "What—"
Miller moved towards the door of the office. "I'm beginning to get it. I've been putting up a false question. Trying to decide which world is real." He grinned humorlessly back at Doctor Grunberg. "They're both real, of course."
He grabbed a taxi and headed back to the house. No one was home. The boys were in school and Marjorie had gone downtown to shop. He waited indoors until he was sure nobody was watching along the street, and then started down the path to the pavement.
He found the spot without any trouble. There was a faint shimmer in the air, a weak place just at the edge of the parking strip. Through it he could see faint shapes.
He was right. There it was—complete and real. As real as the pavement under him.
A long metallic bar was cut off by the edges of the circle. He recognized it; the safety railing he had leaped over to enter the exhibit. Beyond it was the safety screen system. Turned off, of course. And beyond that, the rest of the level and the far walls of the History building.
He took a cautious step into the weak haze. It shimmered around him, misty and oblique. The shapes beyond became clearer. A moving figure in a dark blue robe. Some curious person examining the exhibits. The figure moved on and was lost. He could see his own work desk now. His tape scanner and heaps of study spools. Beside the desk was his briefcase, exactly where he had expected it.
While he was considering stepping over the railing to get the briefcase, Fleming appeared.
Some inner instinct made Miller step back through the weak spot, as Fleming approached. Maybe it was the expression on Fleming's face. In any case, Miller was back and standing firmly on the concrete pavement, when Fleming halted just beyond the juncture, face red, lips twisted with indignation.
"Miller," he said thickly. "Come out of there."
Miller laughed. "Be a good fellow, Fleming. Toss me my briefcase. It's that strange looking thing over by the desk. I showed it to you—remember?"
"Stop playing games and listen to me!" Fleming snapped. "This is serious. Carnap knows. I had to inform him."
"Good for you. The loyal bureaucrat."
Miller bent over to light his pipe. He inhaled and puffed a great cloud of gray tobacco smoke through the weak spot, out into the R level. Fleming coughed and retreated.
"What's that stuff?" he demanded.
"Tobacco. One of the things they have around here. Very common substance in the twentieth century. You wouldn't know about that—your period is the second century, B.C. The Hellenistic world. I don't know how well you'd like that. They didn't have very good plumbing back there. Life expectancy was damn short."
"What are you talking about?"
"In comparison, the life expectancy of my research period is quite high. And you should see the bathroom I've got. Yellow tile. And a shower. We don't have anything like that at the Agency leisure-quarters."
Fleming grunted sourly. "In other words, you're going to stay in there."
"It's a pleasant place," Miller said easily. "Of course, my position is better than average. Let me describe it for you. I have an attractive wife: marriage is permitted, even sanctioned in this era. I have two fine kids—both boys—who are going up to the Russian River this weekend. They live with me and my wife—we have complete custody of them. The State has no power of that, yet. I have a brand new Buick—"
"Illusions," Fleming spat. "Psychotic delusions."
"Are you sure?"
"You damn fool! I always knew you were too ego-recessive to face reality. You and your anachronistic retreats. Sometimes I'm ashamed I'm a theoretician. I wish I had gone into engineering." Fleming's lips twitched. "You're insane, you know. You're standing in the middle of an artificial exhibit, which is owned by the History Agency, a bundle of plastic and wire and struts. A replica of a past age. An imitation. And you'd rather be there than in the real world."
"Strange," Miller said thoughtfully. "Seems to me I've heard the same thing very recently. You don't know a Doctor Grunberg, do you? A psychiatrist."
Without formality, Director Carnap arrived with his company of assistants and experts. Fleming quickly retreated. Miller found himself facing one of the most powerful figures of the twenty-second century. He grinned and held out his hand.
"You insane imbecile," Carnap rumbled. "Get out of there before we drag you out. If we have to do that, you're through. You know what they do with advanced psychotics. It'll be euthanasia for you. I'll give you one last chance to come out of that fake exhibit—"
"Sorry," Miller said. "It's not an exhibit."
Carnap's heavy face registered sudden surprise. For a brief instant his massive pose vanished. "You still try to maintain—"
"This is a time gate," Miller said quietly. "You can't get me out, Carnap. You can't reach me. I'm in the past, two hundred years back. I've crossed back to a previous existence-coordinate. I found a bridge and escaped from your continuum to this. And there's nothing you can do about it."
Carnap and his experts huddled together in a quick technical conference. Miller waited patiently. He had plenty of time; he had decided not to show up at the office until Monday.
After a while Carnap approached the juncture again, being careful not to step over the safety rail. "An interesting theory, Miller. That's the strange part about psychotics. They rationalize their delusions into a logical system. A priori, your concept stands up well. It's internally consistent. Only—"
"Only what?"
"Only it doesn't happen to be true." Carnap had regained his confidence; he seemed to be enjoying the interchange. "You think you're really back in the past. Yes, this exhibit is extremely accurate. Your work has always been good. The authenticity of detail is unequalled by any of the other exhibits."
"I tried to do my work well," Miller murmured.
"You wore archaic clothing and affected archaic speech mannerisms. You did everything possible to throw yourself back. You devoted yourself to your work." Carnap tapped the safety railing with his fingernail. "It would be a shame, Miller. A terrible shame to demolish such an authentic replica."
"I see your point," Miller said, after a time. "I agree with you, certainly. I've been very proud of my work—I'd hate to see it all torn down. But that really won't do you any good. All you'll succeed in doing is closing the time gate."
"You're sure?"
"Of course. The exhibit is only a bridge, a link with the past. I passed through the exhibit, but I'm not there now. I'm beyond the exhibit." He grinned tightly. "Your demolition can't reach me. But seal me off, if you want. I don't think I'll be wanting to come back. I wish you could see this side, Carnap. It's a nice place here. Freedom, opportunity. Limited government, responsible to the people. If you don't like a job here you quit. There's no euthanasia, here. Come on over. I'll introduce you to my wife."
"We'll get you," Carnap said. "And all your psychotic figments along with you."
"I doubt if any of my 'psychotic figments' are worried. Grunberg wasn't. I don't think Marjorie is—"
"We've already begun demolition preparations," Carnap said calmly. "We'll do it piece by piece, not all at once. So you may have the opportunity to appreciate the scientific and—artistic way we take your imaginary world apart."
"You're wasting your time," Miller said. He turned and walked off, down the pavement, to the gravel path and up on to the front porch of the house.
In the living room he threw himself down in the easy chair and snapped on the television set. Then he went to the kitchen and got a can of ice cold beer. He carried it happily back into the safe, comfortable living room.
As he was seating himself in front of the television set he noticed something rolled up on the low coffee table.
He grinned wryly. It was the morning newspaper, which he had looked so hard for. Marjorie had brought it in with the milk, as usual. And of course forgotten to tell him. He yawned contentedly a
nd reached over to pick it up. Confidently, he unfolded it—and read the big black headlines.
RUSSIA REVEALS COBALT BOMB
TOTAL WORLD DESTRUCTION AHEAD
THE CRAWLERS
HE BUILT, and the more he built the more he enjoyed building. Hot sunlight filtered down; summer breezes stirred around him as he toiled joyfully. When he ran out of material he paused awhile and rested. His edifice wasn't large; it was more a practice model than the real thing. One part of his brain told him that, and another part thrilled with excitement and pride. It was at least large enough to enter. He crawled down the entrance tunnel and curled up inside in a contented heap.
Through a rent in the roof a few bits of dirt rained down. He oozed binder fluid and reinforced the weak place. In his edifice the air was clean and cool, almost dust-free. He crawled over the inner walls one last time, leaving a quick-drying coat of binder over everything. What else was needed? He was beginning to feel drowsy; in a moment he'd be asleep.
He thought about it, and then he extended a part of himself up through the still-open entrance. That part watched and listened warily, as the rest of him dozed off in a grateful slumber. He was peaceful and content, conscious that from a distance all that was visible was a light mound of dark clay. No one would notice it: no one would guess what lay beneath.
And if they did notice, he had methods of taking care of them.
The farmer halted his ancient Ford truck with a grinding shriek of brakes. He cursed and backed up a few yards. "There's one. Hop down and take a look at it. Watch the cars—they go pretty fast along here."
Ernest Gretry pushed the cabin door open and stepped down gingerly onto the hot mid-morning pavement. The air smelled of sun and drying grass. Insects buzzed around him as he advanced cautiously up the highway, hands in his trouser pockets, lean body bent forward. He stopped and peered down.
The thing was well mashed. Wheel marks crossed it in four places and its internal organs had ruptured and burst through. The whole thing was snail-like, a gummy elongated tube with sense organs at one end and a confusing mass of protoplasmic extensions at the other.
The Collected Stories of Philip K. Dick 4: The Minority Report Page 123
