The Best of Stanley G. Weinbaum Part 12

The position was intolerable. He must risk a dash back, even though the doughpot blocked the opening. Perhaps, he thought, armored in tran-skin he could wade through the creature. He knew that was an insane idea; the gluey ma.s.s would roll him into itself to suffocate-but it had to be faced. He gathered the girl in his arms and rushed suddenly down the canyon.

Hoots and shrieks and a chorus of mocking laughter echoed around him. Stones struck him everywhere. One glanced from his head, sending him stumbling and staggering against the cliff. But he ran doggedly on; he knew now what drove him. It was the girl he carried; he had to save Patricia Burlingame.

Ham reached the bend. Far up on the west wall glowed cloudy sun-light, and his weird pursuers flung themselves to the dark side. They couldn't stand daylight, and that gave him some a.s.sistance; by creeping very close to the eastern wall he was partially shielded.

Ahead was the other bend, blocked by the doughpot. As he neared it, he turned suddenly sick. Three of the creatures were grouped against the ma.s.s of white, eating-actually eating!-the corruption. They whirled, hoot-ing, as he came; he shot two of them, and as the third leaped for the wall, he dropped that one as well, and it fell with a dull gulping sound into the doughpot.

Again he sickened; the doughpot drew away from it, leaving the thing lying in a hollow like the hole of a giant doughnut. Not even that mon-strosity would eat these creatures.*

* Note: It was not known then that while the night-side life of Venus can eat and digest that of the day side, the reverse is not true. No day-side creature can absorb the dark life because of the presence of various metabolic alcohols, all poisonous.

But the thing's leap had drawn Ham's attention to a twelve-inch ledge. It might be-yes, it was possible that he could traverse that rugged trail and so circle the doughpot. Nearly hopeless, no doubt, to attempt it under the volley of stones, but he must. There was no alternative.

He shifted the girl to free his right arm. He slipped a second clip in his automatic and then fired at random into the flitting shadows above. For a moment the hail of pebbles ceased, and with a convulsive, painful struggle, Ham dragged himself and Patricia to the ledge.

Stones cracked about him once more. Step by step he edged along the way, poised just over the doomed doughpot. Death below and death above! And little by little he rounded the bend; above him both walls glowed in sunlight, and they were safe.

At least, he was safe. The girl might be already dead, he thought franti-cally,. as he slipped and slid through the slime of the doughpot's pa.s.sage. Out on the daylit slope he tore the mask from her face and gazed on white, marble-cold features.

It was not death, however, but only drugged torpor. An hour later she was conscious, though weak and very badly frightened. Yet almost her first question was for her pack.

It '.

s here," Ham said.

What '.

s so precious about that pack? Your notes?"

"My notes? Oh, no!" A faint flush covered her features. "It's-I kept try-ing to tell you-it '.

s your xixtchil.

"What?"

"Yes. I-of course I didn't throw it to the molds. It's yours by rights, Ham. Lots of British traders go into the American Hotlands. I just slit the pouch and hid it here in my pack. The molds on the ground were only some twigs I threw there to-to make it look real."

"But-but-why?"

The Rush deepened.

I wanted to punish you, ".

Patricia whispered, ".

for being so-so cold and distant.""I?"

Ham was amazed.

It was you!"

"Perhaps it was, at first. You forced your way into my house, you know. But-after you carried me across the mudspout, Ham-it was different."

Ham gulped. Suddenly he pulled her into his arms.

I'.

m not going to quarrel about whose fault it was, ".

he said.

But we'

ll settle one thing immediately. We'

re going to Erotia, and that '.

s where we'

ll be married, in a good American church if they've put one up yet, or by a good Ameri-can justice if they haven'

t. There'

s no more talk of Madman'

s Pa.s.s and crossing the Mountains of Eternity. Is that clear?"

She glanced at the vast, looming peaks and shuddered. "Quite clear!" she replied meekly.

PYGMALION'S SPECTACLES.

BUT WHAT IS REALITY?' asked the gnome-like man. He gestured at the tall banks of buildings that loomed around Central Park, with their countless windows glowing like the cave fires of a city of Cro-Magnon people. 'All is dream, all is illusion; I am your vision as you are mine.'

Dan Burke, struggling for clarity of thought through the fumes of liquor, stared without comprehension at the tiny figure of his companion. He began to regret the impulse that had driven him to leave the party to seek fresh air in the park, and to fall by chance into the company of this diminutive old madman. But he had needed escape; this was one party too many, and not even the presence of Claire with her trim ankles could hold him there. He felt an angry desire to go home- not to his hotel, but home to Chicago and to the comparative peace of the Board of Trade. But he was leaving tomorrow anyway.

'You drink,' said the elfin, bearded face, 'to make real a dream. Is it not so? Either to dream that what you seek is yours, or else to dream that what you hate is conquered. You drink to escape reality, and the irony is that even reality is a dream.'

'Cracked!' thought Dan again.

'Or so,' concluded the other, 'says the philosopher Berkeley.'

'Berkeley?' echoed Dan. His head was clearing; memories of a soph.o.m.ore course in Elementary Philosophy drifted back. 'Bishop Berkeley, eh?'

'You know him, then? The philosopher of Idealism-no?-the one who argues that we do not see, feel, hear, taste the object, but that we have only the sensation of seeing, feeling, hearing, tasting.'

'I-sort of recall it.'

'Hah! But sensations are mental phenomena. They exist in our minds. How, then, do we know that the objects themselves do not exist only in our minds?' He waved again at the light-flecked buildings.

'You do not see that wall of masonry; you perceive only a sensation, a feeling of sight. The rest you interpret.'

'You see the same thing,' retorted Dan.

'How do you know I do? Even if you knew that what I call red would not be green could you see through my eyes-even if you knew that, how do you know that I too am not a dream of yours?'

Dan laughed. 'Of course n.o.body knows anything. You just get what information you can through the windows of your five senses, and then make your guesses. When they're wrong, you pay the penalty.'

His mind was clear now save for a mild headache. 'Listen,' he said suddenly. 'You can argue a reality away to an illusion; that's easy. But if your friend Berkeley is right, why can't you take a dream and make it real? If it works one way, it must work the other.'

The beard waggled; elf-bright eyes glittered queerly at him. 'All artists do that,' said the old man softly. Dan felt that something more quivered on the verge of utterance.

'That's an evasion,' he grunted. 'Anybody can tell the difference between a picture and the real thing, or between a movie and life.'

'But,' whispered the other, 'the realer the better, no? And if one could make a-a movie very real indeed, what would you say then?'

'n.o.body can, though.'

The eyes glittered strangely again. 'I can!' he whispered. 'I did!'

'Did what?''Made real a dream.' The voice turned angry. 'Fools! I bring it here to sell to Westman, the camera people, and what do they say? 'It isn't clear. Only one person can use it at a time. It's too expensive.'

Fools! Fools!'

'Huh?'

'Listen! I'm Albert Ludwig-Professor Ludwig.' As Dan was silent, he continued, 'It means nothing to you, eh? But listen-a movie that gives one sight and sound. Suppose now I add taste, smell, even touch, if your interest is taken by the story. Suppose I make it so that you are in the story, you speak to the shadows, and the shadows reply, and instead of being on a screen, the story is all about you, and you are in it. Would that be to make real a dream?'

'How the devil could you do that?'

'How? How? But simply! First my liquid positive, then my magic spectacles. I photograph the story in a liquid with light-sensitive chromates. I build up a complex solution-do you see? I add taste chemically and sound electrically. And when the story is recorded, then I put the solution in my spectacles-my movie projector. I electrolyze the solution, the story, sight, sound, smell, taste all!'

'Touch?'

'If your interest is taken, your mind supplies that.' Eagerness crept into his voice. 'You will look at it, Mr.-'

'Burke,' said Dan. 'A swindle!' he thought. Then a spark of recklessness glowed out of the vanishing fumes of alcohol. 'Why not?' he grunted.

He rose; Ludwig, standing, came scarcely to his shoulder. A queer gnome-like old man, Dan thought as he followed him across the park and into one of the scores of apartment hotels in the vicinity.

In his room Ludwig fumbled in a bag, producing a device vaguely reminiscent of a gas mask. There were goggles and a rubber mouthpiece; Dan examined it curiously, while the little bearded professor brandished a bottle of watery liquid.

'Here it is!' he gloated. 'My liquid positive, the story. Hard photography-infernally hard, therefore the simplest story. A Utopia- just two characters and you, the audience. Now, put the spectacles on. Put them on and tell me what fools the Westman people are!' He decanted some of the liquid into the mask, and trailed a twisted wire to a device on the table. 'A rectifier,' he explained. 'For the electrolysis.'

'Must you use all the liquid?' asked Dan. 'If you use part, do you see only part of the story? And which part?'

'Every drop has all of it, but you must fill the eye-pieces.' Then as Dan slipped the device gingerly on, 'So! Now what do you see?'

'Not a d.a.m.n thing. Just the windows and the lights across the street.'

'Of course. But now I start the electrolysis. Now!'

There was a moment of chaos. The liquid before Dan's eyes clouded suddenly white, and formless sounds buzzed. He moved to tear the device from his head, but emerging forms in the mistiness caught his interest. Giant things were writhing there.

The scene steadied; the whiteness was dissipating like mist in summer. Unbelieving, still gripping the arms of that unseen chair, he was staring at a forest. But what a forest! Incredible, unearthly, beautiful!

Smooth holes ascended inconceivably toward a brightening sky, trees bizarre as the forests of the Carboniferous age. Infinitely overhead swayed misty fronds, and the verdure showed brown and green in the heights. And there were birds-at least, curiously loving pipings and twitterings were all about him though he saw no creatures-thin elfin whistlings like fairy bugles sounded softly.

He sat frozen, entranced. A louder fragment of melody drifted down to him, mounting in exquisite, ecstatic bursts, now clear as sounding metal, now soft as remembered music. For a moment he forgot the chair whose arms he gripped, the miserable hotel room invisibly about him, old Ludwig, his aching head.

He imagined himself alone in the midst of that lovely glade. 'Eden!' he muttered, and the swelling music of unseen voices answered.

Some measure of reason returned. 'Illusion!' he told himself. Clever optical devices, not reality. He groped for the chair's arm, found it, and clung to it; he sc.r.a.ped his feet and found again an inconsistency.

To his eyes the ground was mossy verdure; to his touch it was merely a thin hotel carpet.The elfin buglings sounded gently. A faint, deliciously sweet perfume breathed against him; he glanced up to watch the opening of a great crimson blossom on the nearest tree, and a tiny reddish sun edged into the circle of sky above him. The fairy orchestra swelled louder in its light, and the notes sent a thrill of wistfulness through him. Illusion? If it were, it made reality almost unbearable; he wanted to believe that somewhere-somewhere this side of dreams, there actually existed this region of loveliness. An outpost of Paradise? Perhaps.

And then-far through the softening mists, he caught a movement that was not the swaying of verdure, a shimmer of silver more solid than mist. Something approached. He watched the figure as it moved, now visible, now hidden by trees; very soon he perceived that it was human, but it was almost upon him before he realized that it was a girl.

She wore a robe of silvery, half-translucent stuff, luminous as starbeams; a thin band of silver bound glowing black hair about her forehead, and other garment or ornament she had none. Her tiny white feet were bare to the mossy forest floor as she stood no more than a pace from him, staring dark-eyed. The thin music sounded again; she smiled.

Dan summoned stumbling thoughts. Was this being also-illusion? Had she no more reality than the loveliness of the forest? He opened his lips to speak, but a strained excited voice sounded in his ears.

'Who are you?' Had he spoken? The voice had come as if from another, like the sound of one's words in fever.

The girl smiled again. 'English!' she said in queer soft tones. 'I can speak a little English.' She spoke slowly, carefully. 'I learned it from!'-she hesitated-'my mother's father, whom they call the Gray Weaver.'

Again came the voice in Dan's ears. 'Who are you?'

'I am called Galatea,' she said. 'I came to find you.'