"All right," he said aloud to Doyle. "I agree."
"You're showing your humane side," the sky pilot said, with a grin of sentimentality which disgusted Klugman. "And I think we'll all enjoy the Bach and Vivaldi as played by the Duncan Brothers on their inimitable jugs."
Klugman, wincing, nodded.
On the big night, as they started into the auditorium on floor one of Abraham Lincoln Apartments, Ian Duncan saw, trailing along behind his brother, the flat, scuttling shape of the Martian creature, the papoola. He stopped short. "You're bringing that along?"
Al said, "You don't understand. Don't we have to win?"
After a pause, Ian said, "Not that way." He understood, all right; the papoola would take on the audience as it had taken on sidewalk traffic. It would exert its extra-sensory influence on them, coaxing out a favorable decision. So much for the ethics of a jalopy salesman, Ian realized. To his brother, this seemed perfectly normal; if they couldn't win by their jug-playing they would win through the papoola.
"Aw," Al said, gesturing, "don't be your own worst enemy. All we're engaged in here is a little subliminal sales technique, such as they've been using for a century—it's an ancient, reputable method of swinging public opinion your way. I mean, let's face it; we haven't played the jug professionally in years." He touched the controls at his waist and the papoola hurried forward to catch up with them. Again Al touched the controls—
And in Ian's mind a persuasive thought came, Why not? Everyone else does it.
With difficulty he said, "Get that thing off me, Al."
Al shrugged. And the thought, which had invaded Ian's mind from without, gradually withdrew. And yet, a residue remained. He was no longer sure of his position.
"It's nothing compared to what Nicole's machinery can accomplish," Al pointed out, seeing the expression on his face. "One papoola here and there, and that planet-wide instrument that Nicole has made out of TV—there you have the real danger, Ian. The papoola is crude; you know you're being worked on. Not so when you listen to Nicole. The pressure is so subtle and so complete—"
"I don't know about that," Ian said, "I just know that unless we're successful, unless we get to play at the White House, life as far as I'm concerned isn't worth living. And nobody put that idea in my head. It's just the way I feel; it's my own idea, dammit." He held the door open, and Al passed on into the auditorium, carrying his jug by the handle. Ian followed, and a moment later the two of them were on the stage, facing the partially-filled hall.
"Have you ever seen her?" Al asked.
"I see her all the time."
"I mean in reality. In person. So to speak, in the flesh."
"Of course not," Ian said. That was the whole point of their being successful, of getting to the White House. They would see her really, not just the TV image; it would no longer be a fantasy—it would be true.
"I saw her once," Al said. "I had just put the lot down, Jalopy Jungle No. 3, on a main business avenue in Shreveport, La. It was early in the morning, about eight o'clock. I saw official cars coming; naturally I thought it was the police—I started to take off. But it wasn't. It was a motorcade, with Nicole in it, going to dedicate a new apartment building, the largest yet."
"Yes," Ian said. "The Paul Bunyan." The football team from Abraham Lincoln played annually against its team, and always lost. The Paul Bunyan had over ten thousand residents, and all of them came from administrative-class backgrounds; it was an exclusive apartment building of active Party members, with uniquely high monthly payments.
"You should have seen her," Al said thoughtfully as he sat facing the audience, his jug on his lap. He tapped the papoola with his foot; it had taken up a position beneath his chair, out of sight. "Yes," he murmured, "you really should. It's not the same as on TV, Ian. Not at all."
Ian nodded. He had begun to feel apprehensive, now; in a few minutes they would be introduced. Their test had come.
Seeing him gripping his jug tautly, Al said, "Shall I use the papoola or not? It's up to you." He raised a quizzical brow.
Ian said, "Use it."
"Okay," Al said, reaching his hand inside his coat. Leisurely, he stroked the controls. And, from beneath his chair, the papoola rolled forth, its antennae twitching drolly, its eyes crossing and uncrossing.
At once the audience became alert; people leaned forward to see, some of them chuckling with delight.
"Look," a man said excitedly. It was old Joe Purd, as eager as a child. "It's the papoola!"
A woman rose to her feet to see more clearly, and Ian thought to himself, Everyone loves the papoola. We'll win, whether we can play the jug or not. And then what? Will meeting Nicole make us even more unhappy than we are? Is that what we'll get out of this: hopeless, massive discontent? An ache, a longing which can never be satisfied in this world?
It was too late to back out, now. The doors of the auditorium had shut and Don Klugman was rising from his chair, rapping for order. "Okay, folks," he said into his lapel microphone. "We're going to have a little display of some talent, right now, for everyone's enjoyment. As you see on your programs, first in order is a fine group, the Duncan Brothers and their Classical Jugs with a medley of Bach and Handel tunes that ought to set your feet tapping." He beamed archly at Ian and Al, as if saying, How does that suit you as an intro?
Al paid no attention; he manipulated his controls and gazed thoughtfully at the audience, then at last picked up his jug, glanced at Ian and then tapped his foot. "The Little Fugue in G Minor" opened their medley, and Al began to blow on the jug, sending forth the lively theme.
Bum, bum, bum. Bum-bum bum-bum bum bum de bum. DE bum, DE bum, de de-de bum… His cheeks puffed out red and swollen as he blew.
The papoola wandered across the stage, then lowered itself, by a series of gangly, foolish motions, into the first row of the audience. It had begun to go to work.
The news posted on the communal bulletin board outside the cafeteria of the Abraham Lincoln that the Duncan Brothers had been chosen by the talent scout to perform at the White House astounded Edgar Stone. He read the announcement again and again, wondering how the little nervous, cringing man had managed to do it.
There's been cheating, Stone said to himself. Just as I passed him on his political tests … he's got somebody else to falsify a few results for him along the talent line: He himself had heard the jugs; he had been present at that program, and the Duncan Brothers, Classical Jugs, were simply not that good. They were good, admittedly … but intuitively he knew that more was involved.
Deep inside him he felt anger, a resentment that he had falsified Duncan's test-score. I put him on the road to success, Stone realized; I saved him. And now he's on his way to the White House.
No wonder Duncan did so poorly on his political test, Stone said to himself. He was busy practicing on his jug; he has no time for the commonplace realities which the rest of us have to cope with. It must be great to be an artist, Stone thought with bitterness. You're exempt from all the rules, you can do as you like.
He sure made a fool out of me, Stone realized.
Striding down the second floor hall, Stone arrived at the office of the building sky pilot; he rang the bell and the door opened, showing him the sight of the sky pilot deep in work at his desk, his face wrinkled with fatigue. "Urn, father," Stone said, "I'd like to confess. Can you spare a few minutes? It's very urgently on my mind, my sins I mean."
Rubbing his forehead, Patrick Doyle nodded. "Jeez," he murmured. "It either rains or it pours; I've had ten residents in today so far, using the confessionator. Go ahead." He pointed to the alcove which opened onto his office. "Sit down and plug yourself in. I'll be listening while I fill out these 4-10 forms from Boise."
Filled with wrathful indignation, his hands trembling, Edgar Stone attached the electrodes of the confessionator to the correct spots of his scalp, and then, picking up the microphone, began to confess. The tape-drums of the machine turned as he spoke. "Moved by a false pity," he said,
"I infracted a rule of the building. But mainly I am concerned not with the act itself but with the motives behind it; the act merely is the outgrowth of a false attitude toward my fellow residents. This person, my neighbor Mr. Duncan, did poorly in his recent relpol test and I foresaw him being evicted from Abraham Lincoln. I identified with him because subconsciously I regard myself as a failure, both as a resident of this building and as a man, so I falsified his score to indicate that he had passed. Obviously, a new relpol test will have to be given to Mr. Duncan and the one which I scored will have to be voided." He eyed the sky pilot, but there was no reaction.
That will take care of Ian Duncan and his Classical Jug, Stone said to himself.
By now the confessionator had analyzed his confession; it popped a card out, and Doyle rose to his feet wearily to receive it. After a careful study he glanced up. "Mr. Stone," he said, "the view expressed here is that your confession is no confession. What do you really have on your mind? Go back and begin all over; you haven't probed down deeply enough and brought up the genuine material. And I suggest you start out by confessing that you misconfessed consciously and deliberately."
"No such thing," Stone said, but his voice—even to him—sounded feeble. "Perhaps I could discuss this with you informally. I did falsify Ian Duncan's test score. Now, maybe my motives for doing it—"
Doyle interrupted, "Aren't you jealous of Duncan now? What with his success with the jug, White House-ward?"
There was silence.
"This could be," Stone admitted at last. "But it doesn't change the fact that by all rights Ian Duncan shouldn't be living here; he should be evicted, my motives notwithstanding. Look it up in the Communal Apartment-building Code. I know there's a section covering a situation like this."
"But you can't get out of here," the sky pilot said, "without confessing; you have to satisfy the machine. You're attempting to force eviction of a neighbor to fulfill your own emotional needs. Confess that, and then perhaps we can discuss the code ruling as it pertains to Duncan."
Stone groaned and once more attached the electrodes to his scalp. "All right," he grated. "I hate Ian Duncan because he's artistically gifted and I'm not. I'm willing to be examined by a twelve-resident jury of my neighbors to see what the penalty for my sin is—but I insist that Duncan be given another relpol test! I won't give up on this; he has no right to be living here among us. It's morally and legally wrong!"
"At least you're being honest, now," Doyle said.
"Actually," Stone said, "I enjoy jug band playing; I liked their music, the other night. But I have to act in what I believe to be the communal interest."
The confessionator, it seemed to him, snorted in derision as it popped a second card. But perhaps it was only his imagination.
"You're just getting yourself deeper," Doyle said, reading the card. "Look at this." He passed the card to Stone. "Your mind is a riot of confused, ambivalent motives. When was the last time you confessed?"
Flushing, Stone mumbled, "I think last August. Pepe Jones was the sky pilot, then."
"A lot of work will have to be done with you," Doyle said, lighting a cigarette and leaning back in his chair.
The opening number on their White House performance, they had decided after much discussion and argument, would be the Bach "Chaconne in D." Al had always liked it, despite the difficulties involved, the double-stopping and all. Even thinking about the "Chaconne" made Ian nervous. He wished, now that it had been decided, that he had held out for the simpler "Fifth Unaccompanied Cello Suite." But too late now. Al had sent the information on to the White House A & R—artists and repertory—secretary, Harold Slezak.
Al said, "Don't worry; you've got the number two jug in this. Do you mind being second jug to me?"
"No," Ian said. It was a relief, actually; Al had the far more difficult part.
Outside the perimeter of Jalopy Jungle No. 3 the papoola moved, crisscrossing the sidewalk in its gliding, quiet pursuit of a sales prospect. It was only ten in the morning and no one worth collaring had come along, as yet. Today the lot had set down in the hilly section of Oakland, California, among the winding tree-lined streets of the better residential section. Across from the lot, Ian could see the Joe Louis, a peculiarly-shaped but striking apartment building of a thousand units, mostly occupied by well-to-do Negroes. The building, in the morning sun, looked especially neat and cared for. A guard, with badge and gun, patrolled the entrance, stopping anyone who did not live there from entering.
"Slezak has to okay the program," Al reminded him. "Maybe Nicole won't want to hear the 'Chaconne'; she's got very specialized tastes and they're changing all the time."
In his mind Ian saw Nicole, propped up in her enormous bed, in her pink, frilly robe, her breakfast on a tray beside her as she scanned the program schedules presented to her for her approval. Already she's heard about us, he thought. She knows of our existence. In that case, we really do exist. Like a child that has to have its mother watching what it does; we're brought into being, validated consensually, by Nicole's gaze.
And when she takes her eye off us, he thought, then what? What happens to us afterward? Do we disintegrate, sink back into oblivion?
Back, he thought, into random, unformed atoms. Where we came from … the world of nonbeing. The world we've been in all our lives, up until now.
"And," Al said, "she may ask us for an encore. She may even request a particular favorite. I've researched it, and it seems she sometimes asks to hear Schumann's 'The Happy Farmer.' Got that in mind? We'd better work up 'The Happy Farmer,' just in case." He blew a few toots on his jug, thoughtfully.
"I can't do it," Ian said abruptly. "I can't go on. It means too much to me. Something will go wrong; we won't please her and they'll boot us out. And we'll never be able to forget it."
"Look," Al began. "We have the papoola. And that gives us—" He broke off. A tall, stoop-shouldered elderly man in an expensive natural-fiber blue pin-stripe suit was coming up the sidewalk. "My God, it's Luke himself," Al said. He looked frightened. "I've only seen him twice before in my life. Something must be wrong."
"Better reel in the papoola," Ian said. The papoola had begun to move toward Loony Luke.
With a bewildered expression on his face Al said, "I can't." He fiddled desperately with the controls at his waist. "It won't respond."
The papoola reached Luke, and Luke bent down, picked it up and continued on toward the lot, the papoola under his arm.
"He's taken precedence over me," Al said. He looked at his brother numbly.
The door of the little structure opened and Loony Luke entered. "We received a report that you've been using this on your own time, for purposes of your own," he said to Al, his voice low and gravelly. "You were told not to do that; the papoolas belong to the lots, not to the operators."
Al said, "Aw, come on, Luke."
"You ought to be fired," Luke said, "but you're a good salesman so I'll keep you on. Meanwhile, you'll have to make your quota without help." Tightening his grip on the papoola, he started back out. "My time is valuable; I have to go." He saw Al's jug. "That's not a musical instrument; it's a thing to put whiskey in."
Al said, "Listen, Luke, this is publicity. Performing for Nicole means that the network of jalopy jungles will gain prestige; got it?"
"I don't want prestige," Luke said, pausing at the door. "There's no catering to Nicole Thibodeaux by me; let her run her society the way she wants and I'll run the jungles the way I want. She leaves me alone and I leave her alone and that's fine with me. Don't mess it up. Tell Slezak you can't appear and forget about it; no grown man in his right senses would be hooting into an empty bottle anyhow."
"That's where you're wrong," Al said. "Art can be found in the most mundane daily walks of life, like in these jugs for instance."
Luke, picking his teeth with a silver toothpick, said, "Now you don't have a papoola to soften the First Family up for you. Better think about that … do you really expect to make it with
out the papoola?"
After a pause Al said to Ian, "He's right. The papoola did it for us. But—hell, let's go on anyhow."
"You've got guts," Luke said. "But no sense. Still, I have to admire you. I can see why you've been a top notch salesman for the organization; you don't give up. Take the papoola the night you perform at the White House and then return it to me the next morning." He tossed the round, bug-like creature to Al; grabbing it, Al hugged it against his chest like a big pillow. "Maybe it would be good publicity for the jungles," Luke said. "But I know this. Nicole doesn't like us. Too many people have slipped out of her hands by means of us; we're a leak in mama's structure and mama knows it." He grinned, showing gold teeth.
Al said, "Thanks, Luke."
"But I'll operate the papoola," Luke said. "By remote. I'm a little more skilled than you; after all, I built them."
"Sure," Al said. "I'll have my hands full playing anyhow."
"Yes," Luke said, "you'll need both hands for that bottle."
Something in Luke's tone made Ian Duncan uneasy. What's he up to? he wondered. But in any case he and his brother had no choice; they had to have the papoola working for them. And no doubt Luke could do a good job of operating it; he had already proved his superiority over Al, just now, and as Luke said, Al would be busy blowing away on his jug. But still—
"Loony Luke," Ian said, "have you ever met Nicole?" It was a sudden thought on his part, an unexpected intuition.
"Sure," Luke said steadily. "Years ago. I had some hand puppets; my Dad and I traveled around putting on puppet shows. We finally played the White House."
"What happened there?" Ian asked.
Luke, after a pause, said, "She didn't care for us. Said something about our puppets being indecent."
The Collected Stories of Philip K. Dick 4: The Minority Report Page 179
