The second night that Winters came, Keith looked at him very pointedly and swung into “Vietnam Rag,” with the rest of us joining in. Then he followed it up with “Universal Solider.” In between lyrics, he kept flashing Winters this taunting grin.
Winters took it pretty well, however. He squirmed and looked uncomfortable at first, but finally entered into the spirit of the thing and began to smile. Then, when Keith finished, he stood up. “If you’re so determined to cast me as the commune’s very own friendly reactionary, well I guess I’ll have to oblige,” he said. He reached out a hand. “Give me that guitar.”
Keith looked curious but willing. He obliged. Winters grabbed the instrument, strummed it a few times uncertainly, and launched into a robust version of “Okie from Muskogee.” He played like his fingers were made of stone, and sang worse. But that wasn’t the point.
Keith began laughing before Winters was three bars into the song. The rest of us followed suit. Winters, looking very grim and determined, plowed on through to the bitter end, even though he didn’t know all the words and had to fake it in spots. Then he did the Marine hymn for an encore, ignoring all the hissing and moaning.
When he was finished, Pete clapped loudly. Winters bowed, smiled, and handed the guitar back to Keith with an exaggerated flourish.
Keith, of course, was not one to be topped easily.
He nodded at Winters, took the guitar, and promptly did “Eve of Destruction.”
Winters retaliated with “Welfare Cadillac.” Or tried to. Turned out he knew hardly any of the words, so he finally gave that up and settled for “Anchors Aweigh.”
That sort of thing went on all night, as they jousted back and forth, and everybody else sat around laughing. Well, actually we did more than laugh. Generally we had to help Winters with his songs, since he didn’t really know any of them all the way through. Keith held his own without us, of course.
It was one of the more memorable sessions. The only thing it really had in common with Keith’s usual concerts was that it began with “They Call the Wind Maria,” and ended with “Me and Bobby McGee.”
But the next day, Keith was more subdued. Still some kidding around between him and Winters, but mostly the singing slipped back into the older pattern. And the day after, the songs were nearly all Keith’s kind of stuff, except for a few requests from Winters, which Keith did weakly and halfheartedly.
I doubt that Winters realized what was happening. But I did, and so did most of the others. We’d seen it before. Keith was getting down again. The afterglow from his latest timetrip was fading. He was getting lonely and hungry and restless. He was itching, yet again, for his Sandi.
Sometimes, when he got that way, you could almost see the hurt. And if you couldn’t see it, you could hear it when he sang. Loud and throbbing in every note.
Winters heard it too. He’d have had to be deaf to miss it. Only I don’t think he understood what he heard, and I know he didn’t understand Keith. All he knew was the anguish he heard. And it troubled him.
So, being Winters, he decided to do something about it. He came to Keith.
I was there at the time. It was midmorning, and Keith and I had come in from the field for a break. I was sitting on the well with a cup of water in my hand, and Keith was standing next to me talking. You could tell that he was getting ready to timetrip again, soon.
He was very down, very distant, and I was having trouble reaching him.
In the middle of all this, Winters comes striding up, smiling, in his Army jacket. His house was rising quickly, and he was cheerful about it, and he and Crazy Harry had already mapped out the first of their “search expeditions.”
“Hello, men,” he said when he joined us at the well. He reached for the water, and I passed my cup.
He took a deep drink and passed it back. Then he looked at Keith. “I enjoy your singing,” he said. “I think everybody else does, too. You’re very good, really.” He grinned. “Even if you are an anarchistic bastard.”
Keith nodded. “Yeah, thanks,” he said. He was in no mood for fooling around.
“One thing, though, has been bothering me,” Winters said. “I figured maybe I could discuss it with you, maybe make a few suggestions. Okay?”
Keith stroked his beard and paid a little more attention. “Okay. Shoot, Colonel.”
“It’s your songs. I’ve noticed that most of them are pretty . . . down, let’s say. Good songs, sure. But sort of depressing, if you know what I mean. Especially in view of the Blast. You sing too much about the old days, and things we’ve lost. I don’t think that’s good for morale. We’ve got to stop dwelling so much on the past if we’re ever going to rebuild.”
Keith stared at him, and slumped against the well. “You gotta be kidding,” he said.
“No,” said Winters. “No, I mean it. A few cheerful songs would do a lot for us. Life can still be good and worthwhile if we work at it. You should tell us that in your music. Concentrate on the things we still have. We need hope and courage. Give them to us.”
But Keith wasn’t buying it. He stroked his beard, and smiled, and finally shook his head. “No, Lieutenant, no way. It doesn’t work like that. I don’t sing propaganda, even if it’s well-meant. I sing what I feel.”
His voice was baffled. “Cheerful songs, well . . . no. I can’t. They don’t work, not for me. I’d like to believe it, but I can’t, you see. And I can’t make other people believe if I don’t. Life is pretty empty around here, the way I see it. And not too likely to improve. And . . . well, as long as I see it that way, I’ve got to sing it that way. You see?”
Winters frowned. “Things aren’t that hopeless,” he said. “And even if they were, we can’t admit it, or we’re finished.”
Keith looked at Winters, at me, then down into the well. He shook his head again, and straightened. “No,” he said simply, gently, sadly. And he left us at the well to stalk silently in the fields.
Winters watched him go, then turned to me. I offered him more water, but he shook his head. “What do you think, Gary?” he said. “Did I have a point? Or did I?”
I considered the question, and the asker. Winters sounded very troubled and very sincere. And the blond stubble on his chin made it clear that he was trying his best to fit in. I decided to trust him, a little.
“Yes,” I said. “I know what you were driving at. But it’s not that easy. Keith’s songs aren’t just songs. They mean things to him.”
I hesitated, then continued. “Look, the Blast was hell for everybody, I don’t have to tell you that. But most of us out here, we chose this kind of life, ’cause we wanted to get away from the cities and what they stood for. We miss the old days, sure. We’ve lost people, and things we valued, and a lot that made life joyful. And we don’t much care for the constant struggle, or for having to live in fear of the rat packs. Still, a lot of what we valued is right here on the commune, and it hasn’t changed that much. We’ve got the land, and the trees, and each other. And freedom of a sort. No pollution, no competition, no hatred. We like to remember the old days, and the good things in the cities—that’s why we Like Keith’s singing—but now has its satisfactions too.
“Only, Keith is different. He didn’t choose this way, he was only visiting. His dreams were all tied up with the cities, with poetry and music and people and noise. And he’s lost his world; everything he did and wanted to do is gone. And . . . and well, there was this girl. Sandra, but he called her Sandi. She and Keith lived together for two years, traveled together, did everything together. They only split for a summer, so she could go back to college. Then they were going to join up again. You understand?”
Winters understood. “And then the Blast?”
“And then the Blast. Keith was here, in the middle of nowhere. Sandi was in New York City. So he lost her, too. I think sometimes that if Sandi had been with him, he’d have gotten over the rest. She was the most important part of the world he lost, the world they shared together. With her her
e, they could have shared a new world and found new beauties and new songs to sing. But she wasn’t here, and . . . ”
I shrugged.
“Yeah,” said Winters solemnly. “But it’s been four years, Gary. I lost a lot too, including my wife. But I got over it. Sooner or later, mourning has to stop.”
“Yes,” I said. “For you, and for me. I haven’t lost that much, and you . . . you think that things will be good again. Keith doesn’t. Maybe things were too good for him in the old days. Or maybe he’s just too romantic for his own good. Or maybe he loved harder than we did. All I know is that his dream tomorrow is like his yesterday, and mine isn’t. I’ve never found anything I could be that happy with. Keith did, or thinks he did. Same difference. He wants it back.”
I drank some more water, and rose. “I’ve got to get back to work,” I said quickly, before Winters could continue the conversation. But I was thoughtful as I walked back to the fields.
There was, of course, one thing I hadn’t told Winters, one important thing. The timetripping. Maybe if Keith was forced to settle for the life he had, he’d come out of it. Like the rest of us had done.
But Keith had an option; Keith could go back. Keith still had his Sandi, so he didn’t have to start over again.
That, I thought, explained a lot. Maybe I should have mentioned it to Winters. Maybe.
Winters skipped the singing that night. He and Crazy Harry were set to leave the next morning, to go searching to the west. They were off somewhere stocking their jeep and making plans.
Keith didn’t miss them any. He sat on his rock, warmed by a pile of burning autumn leaves, and out-sung the bitter wind that had started to blow. He played hard and loud, and sang sad. And after the fire went out, and the audience drifted off, he took his guitar and his cigar box and went off toward the creek.
I followed him. This time the night was black and cloudy, with the smell of rain in the air. And the wind was strong and cold. No, it didn’t sound like people dying. But it moved through the trees and shook the branches and whipped away the leaves. And it sounded . . . restless.
When I reached the creek, Keith was already rolling up his sleeve.
I stopped him before he took his needle out. “Hey, Keith,” I said, laying a hand on his arm. “Easy. Talk first, okay?”
He looked at my hand and his needle, and returned a reluctant nod. “Okay, Gary,” he said. “But short. I’m in a rush. I haven’t seen Sandi for a week.”
I let go his arm and sat down. “I know.”
“I was trying to make it last, Gar. I only had a month’s worth, but I figured I could make it last longer if I only timetripped once a week.” He smiled. “But that’s hard.”
“I know,” I repeated. “But it would be easier if you didn’t think about her so much.”
He nodded, put down the box, and pulled his denim jacket a little tighter to shut out the wind. “I think too much,” he agreed. Then, smiling, he added, “Such men are dangerous.”
“Ummm, yeah. To themselves, mostly.” I looked at him, cold and huddled in the darkness. “Keith, what will you do when you run out?”
“I wish I knew.”
“I know,” I said. “Then you’ll forget. Your time machine will be broken, and you’ll have to live today. Find somebody else and start again. Only it might be easier if you’d start now. Put away the chronine for a while. Fight it.”
“Sing cheerful songs?” he asked sarcastically.
“Maybe not. I don’t ask you to wipe out the past, or pretend it didn’t happen. But try to find something in the present. You know it can’t be as empty as you pretend. Things aren’t black and white like that. Winters was part right, you know—there are still good things. You forget that.”
“Do I? What do I forget?”
I hesitated. He was making it hard for me. “Well . . . you still enjoy your singing. You know that. And there could be other things. You used to enjoy writing your own stuff. Why don’t you work on some new songs? You haven’t written anything to speak of since the Blast.”
Keith had picked up a handful of leaves and was offering them to the wind, one by one. “I’ve thought of that. You don’t know how much I’ve thought of that, Gary. And I’ve tried. But nothing comes.” His voice went soft right then. “In the old days, it was different. And you know why. Sandi would sit out in the audience every time I sang. And when I did something new, something of mine, I could see her brighten. If it was good, I’d know it, just from the way she smiled. She was proud of me, and my songs.”
He shook his head. “Doesn’t work now, Gary. I write a song now, and sing it, and . . . so what? Who cares? You? Yeah, maybe you and a few of the others come up after and say, ‘Hey, Keith, I liked that.’ But that’s not the same. My songs were important to Sandi, the same way her acting was important to me. And now my songs aren’t important to anyone. I tell myself that shouldn’t matter. I should get my own satisfaction from composing, even if no one else does. I tell myself that a lot. But saying it doesn’t make it so.”
Sometimes I think, right then, I should have told Keith that his songs were the most important thing in the world to me. But hell, they weren’t. And Keith was a friend, and I couldn’t feed him lies, even if he needed them.
Besides, he wouldn’t have believed me. Keith had a way of recognizing truth.
Instead, I floundered. “Keith, you could find someone like that again, if you tried. There are girls in the commune, girls as good as Sandi, if you’d open yourself up to them. You could find someone else.”
Keith gave me a calm stare, more chilling than the wind. “I don’t need someone else, Gary,” he said. He picked up the cigar box, opened it, and showed me the needle. “I’ve got Sandi.”
Twice more that week Keith timetripped. And both times he rushed off with a feverish urgency. Usually he’d wait an hour or so after the singing, and discreetly drift off to his creek. But now he brought the cigar box with him, and left even before the last notes of “Me and Bobby McGee” had faded from the air.
Nobody mentioned anything, of course. We all knew Keith was timetripping, and we all knew he was running out. So we forgave him, and understood. Everybody understood, that is, except Pete, Winters’ former corporal. He, like Winters and Crazy Harry, hadn’t been filled in yet. But one evening at the singing, I noticed him looking curiously at the cigar box that lay by Keith’s feet. He said something to Jan, the girl he’d been sleeping with. And she said something back. So I figured he’d been briefed.
I was too right.
Winters and Crazy Harry returned a week, to the day, after their departure. They were not alone. They brought three young teenagers, a guy and two girls, whom they’d found down west, in company with a group of rats. “In company,” is a euphemism, of course. The kids had been slaves. Winters and Crazy had freed them.
I didn’t ask what had happened to the rats. I could guess.
There was a lot of excitement that night and the night after. The kids were a little frightened of us, and it took a lot of attention to convince them that things would be different here. Winters decided that they should have their own place, and he and Pete began planning a second new cabin. The first one was nearing its crude completion.
As it turned out, Winters and Pete were talking about more than a cabin. I should have realized that, since I caught Winters looking at Keith very curiously and thoughtfully on at least two occasions.
But I didn’t realize it. Like everyone else, I was busy getting to know the newcomers and trying to make them feel at ease. It wasn’t simple, that.
So I didn’t know what was going on until the fourth evening after Winters’ return. I was outside, listening to Keith sing. He’d just barely finished “They Call the Wind Maria,” and was about to swing into a second song, when a group of people suddenly walked into the circle. Winters led them, and Crazy Harry was just behind him with the three kids. And Pete was there, with his arm around Jan. Plus a few others who hadn’t been a
t the concert when it started but had followed Winters from the common house.
Keith figured they wanted to listen, I guess. He began to play. But Winters stopped him.
“No, Keith,” he said. “Not right now. We’ve got business to take care of now, while everybody’s together. We’re going to talk tonight.”
Keith’s fingers stopped, and the music faded. The only sounds were the wind and the crackle of the nearby burning leaves. Everyone was looking at Winters.
“I want to talk about timetripping,” Winters said.
Keith put down his guitar and glanced at the cigar box at the base of concert rock. “Talk,” he said.
Winters looked around the circle, studying the impassive faces, as if he was weighing them before speaking. I looked too.
“I’ve been told that the commune has a supply of chronine,” Winters began. “And that you use it for timetripping. Is that true, Keith?”
Keith stroked his beard, as he did when he was nervous or thoughtful. “Yeah,” he said.
“And that’s the only use that’s ever been made of this chronine?” Winters said. His supporters had gathered behind him in what seemed like a phalanx.
I stood up. I didn’t feel comfortable arguing from the ground. “Keith was the first one to find the chronine,” I said. “We were going through the town hospital after the Army had gotten through with it. A few drugs were all that were left. Most of them are in the commune stores, in case we need them. But Keith wanted the chronine. So we gave it to him, all of us. Nobody else cared much.”
Winters nodded. “I understand that,” he said very reasonably. “I’m not criticizing that decision. Perhaps you didn’t realize, however, that there are other uses or chronine besides timetripping.”
He paused. “Listen, and try to judge me fairly, that’s all I ask,” he said, looking at each of us in turn. “Chronine is a powerful drug; it’s an important resource, and we need all our resources right now. And timetripping—anyone’s timetripping—is an abuse of the drug. Not what it was intended for.”
That was a mistake on Winters’ part. Lectures on drug abuse weren’t likely to go over big in the commune. I could feel the people around me getting uptight.
Lightspeed: Year One Page 13
