The Second Trip Page 18
A pilgrimage. A sentimental journey.
—It’s somebody else’s house now.
Why don’t you go fuck yourself, Macy?
—I have your welfare at heart. You can’t just prowl around here. It may be patrolled by dogs. Scanners everywhere. You know what’ll happen to you if you’re caught?
Hamlin didn’t reply. He edged toward the studio, and Macy picked up an inchoate scheme for forcing a window and getting inside. Hamlin seemed to expect to find his workshop intact, all the elaborate psychosculpting apparatus still sitting where he had left it. Folly. The studio was probably some blithery suburbanite matron’s greenhouse now. Hamlin continued to slink through the copse bordering the creek. Let him try, let him just try. The alarm will go off and the place will be full of cops in ten minutes. A frantic chase through the woods. Snubnosed shiny cyberhounds snuffling on silent treads over last year’s fallen leaves, homing in on the fleeing man’s telltale thermals. The fugitive encircled, entrapped, seized. Identified as Paul Macy, Rehab reconstruct, but the police, checking with Gomez & Co., would swiftly discover that Macy had been plagued by a resurgence of his prior identity. And then. Swift action. Wham! Needles in his arm. Hamlin reamed out a second time.
What about his threat to destroy their shared body in case of trouble? No, Macy thought, he can’t do it, not while he’s up there running the conscious brain. A man can’t simply shut off his own heartbeat by willing it. He could when he was down here where I am, plugged into all the neural connections, but he can’t do it now. So Hamlin will die a second time, and the body will survive. For me to have. Go on, Nat, creep and creep and creep, bust into your studio, trip the alarm, summon the hounds, start me on the road back to independent life. Yes. I’ll be so very grateful.
What’s this rising from the pool, though? Blithery suburban matron herself! Venus on the half shell. Woman in her middle forties, tall, not exactly plump but well endowed, dark hair, long arching waist, thickish thighs, amiable vacuous face. Her snatch chastely shielded by a skimpy cache-sexe; breasts bare, full, probably not as high as they used to be. Staring in surprise at Hamlin advancing toward her.
Quick adrenal response from Hamlin, too. Pupils dilated, heartbeat accelerated, prick stiffening. No wonder he’s excited. The quintessential rape situation. Daytime, suburbs, woman alone, scantily clad, man emerges out of woods. Fling her down, hand over mouth, spread the thighs, give her the ram. Ooom. Load the box and prance away. Another notch carved in your cock.
—Ahaha! Still at it. Your old tricks.
Don’t bother me, Hamlin snapped. Making an effort, recovering his sexual equilibrium, his social poise. Giving her a sexosocial smile and a little genteel nod. Everything under control. “I hope I didn’t startle you, ma’am.” The voice unctuous.
“Not fatally.” Her eyes fluttering from his face to the Rehab badge and back to face. A little confused but not alarmed. She didn’t try to cover her breasts despite the potential provocativeness of the situation. The cheerful poise of the upper crust “Forgive me if I’m making a terrible mistake, but aren’t you—weren’t you—”
“Nat Hamlin, yes. Who used to live here. But my name is Paul Macy now.”
—Liar!
“I recognized you at once. How pleasant of you to visit us!” Obviously unaware of the impropriety of a reconstruct’s visiting his earlier self’s old haunts. Or not caring “Lynn Bryson, by the way. We’ve been here two years now. My husband is a helix surgeon. Shall I get you a drink, Mr. ah Macy? Or something to smoke?”
“No, thank you, Mrs. Bryson. You bought the place from Hamlin’s ah widow?”
“From Mrs. Hamlin, yes. Such a fascinating woman! Naturally she didn’t care to stay here any longer, with such terrible memories on all sides. We struck up a wonderful friendship during the time when the house was changing hands.”
“I’ve heard many fine things about her,” Hamlin said. “Of course I have no recollection of her. You understand.”
“Of course.”
“Hamlin’s past is a closed book to me. But you understand I have a certain natural curiosity about the people and places of his life. As if he were, in a sense, a famous ancestor of mine, and I felt I should know more about him.”
“Of course.”
“Does Mrs. Hamlin still live in this area?”
“Oh, no, she’s in Westchester now. Bedford City, I believe.”
“Remarried?”
“Yes, of course.”
The knife turning in Hamlin’s gut.
“You happen to know her new husband’s name?” Very carefully, concealing all traces of tension.
“I could find it,” the woman said. “A Jewish name. Klein, Schmidt, Katz, something like that, a short word, Germanic. A person in the theater, a producer maybe, a very fine man.” Her smile grew broader. Her eyes appraised Hamlin’s body with complacent sensuality. As if she wouldn’t mind some pronging. Her vicarious way of attaining intimacy with the departed great artist. She should only know. Off with that bit of plastic about her waist, down on the grass, the white fleshy thighs parting. Ooom. “Won’t you come with me?” she said airily. “I have it in the house. And you’ll want to see the house, anyway. The studio. Do you know, we’ve kept Mr. Hamlin’s studio exactly as it was when he—before he—when his troubles started—”
“You have?” A wild interior leap. Excited. “Everything still intact?”
“Mrs. Hamlin didn’t want any of his things, so they came to us with the house. And we thought, well, the way they have Rembrandt’s house on display in Amsterdam, or the house of Rubens in what is it Antwerp, so we would keep Nathaniel Hamlin’s studio intact here, not for public display of course, but simply as a kind of shrine, a memorial, and in case some scholar wished to see it, some great admirer of Hamlin, well, we would make it accessible. And then of course future generations. Won’t you come with me?” Smiling, turning, striding across the barbered lawn. Meaty buttocks waggle waggle waggle. Hamlin, sweating, adrenalized, following. The familiar old stone house. The squat spacious annex. A cheery wave of her hand. “There’s an entrance to the studio on the far side of—” Hamlin was already on his way around there. “Oh, I see you know that.” But how is it that he knows it? No indication that she suspects anything. “I’ll look for Mrs. Hamlin’s new name, and her address too, I suppose, and I’ll meet you in a couple of minutes in the—”
Studio. Exactly as he had left it. To the left of the door, the big rectangular window. Floods of light. Facing the window, the posing dais with the microphones and scanners and sensors still in place and even his last chalk-marks still on the floor. On the right-hand wall his command console, levers and knobs and studs and dials that would surely have perplexed Rembrandt or Rubens or for that matter Leonardo da Vinci. The headphones. The ionization controller. The unjacked connectors. The datascreen. The light-pen. The sonic generator. Such a tangle of apparatus. In back, the other little room, the annex of the annex, more things visible, coils of wire, metal struts, mounds of modeling clay, the big electropantograph, the photomultiplier, the image intensifier, and other things which Hamlin did not seem to recognize. Hamlin wandered numbly among it all. Macy picked up his somber thoughts. The artist was frightened, even appalled, by the complexity of the studio. Trying to adjust to the idea that he had once used all this stuff by second nature. What was this thing for? And this? And this? Shit, how does it all work? I can’t remember a thing.
—Rehab wrecked you, Nat, more than you realize.
Shut your hole. I could pick all this up again in three hours. A note of false bravado, though. Powerful currents of uncertainty coming from him. Hamlin broke off a chunk of modeling clay and began to knead it. Stiff, after all this time. The clay. And he was too. The fingers unresponsive. Let’s sculpt Mrs. Bryson. Here, we roll a long tube of clay like so, and we. No. Instantly the proportions were awry. Hamlin nibbled his lip. Correcting his intuitive beginning. She’s tall, yes, and wide through the hips, and we’ll nee
d some clay here for the boobs.
—Give up, Nat, you don’t have it any more.
Piss off, Macy. What do you know?
Yet Hamlin was unable to conceal the extent of his uneasiness from his passenger. He was fumbling with the clay, mangling it, blundering at this elementary task of modeling, straining to get the image in his mind transferred to the lump in his hands. In that tense moment Macy made new connections and for the first time gained some control over Hamlin’s central nervous system. Plink. Strumming the neurons. Hamlin’s elbow jerked. The tube of clay bent double at the sudden accidental convulsion. Plink. Another twitch. Hamlin shouting silently at him now, bellowing in rage. Macy was enjoying this. He continued to tug at Hamlin’s synapses while the artist trembled and shivered in mounting wrath and frustration. The half-shaped model of Mrs. Bryson a ruin. Hamlin glancing around nervously at his own equipment, so alien to him, so terrifying. Telling himself that in four, four and a half years it was possible for a person to forget all sorts of superficial mechanical things, but that you never lost the real talent, the basic underlying inborn gift, the set of perceptions and insights that is the real material to which the artist applies his learned craftsmanship.
—Go on, Nat, keep saying it, you may even start to believe it soon.
Let me alone. Let me alone. I could learn all this machinery again in half a day!
—Sure you could, sweetheart. Who ever doubted it?
Giving Hamlin another twong in the medulla, a blork in the autonomic, a whonk in the limbic. Yes! Really learning my way around in here, now! Just as he did in me. The shoe on the other cortex, though. I’ll get him. I’ll get him good. Hamlin was doing a manic dance, twitching around the room as Macy toyed with him. He couldn’t seem to get himself together enough to deliver a retaliatory shot; it was as if the vibrations emanated by all the psychosculpting apparatus kept him dizzy and off balance. Keep hammering away, Macy told himself. This may be your chance to get back on top. Twong and twong and twong! Arms whipping about wildly. Knees jerking. I think I could make him crap in his undies now. A nice psychological point to score, but why shit things up for myself in case I take over?
And then Hamlin began to fight back. Coldly, furiously, ramming Macy down into subservience once more. Sweeping from his mind the distractions of this dismaying studio in order to regain inner discipline. There. There. There. Macy saw that he did not yet have the power to vanquish the other, although he was constantly learning and gaining strength. Later. Another time. He has me now.
“Isn’t the studio absolutely fascinating, Mr. Macy?”
An idiot warble, a gay contralto trill. Enter Mrs. Bryson. A slip of paper in her hand. By no accident, she has rid herself of her loincloth, and she comes jollying in, starkers, with flatfooted buoyancy. Eyes sparkling, breasts heaving expectantly. Thick curling deep-piled black triangle. Her nipples turning to turrets. The hot scent of a rutting bitch spreading in the warm air. We’re very casual about nudity out here, you see, Mr. Macy. Clothes are so primitive, don’t you think! And then maybe making a quick grab for his crotch, getting the pole out in the open, down on the floor amid the paraphernalia of the great artist. To be had by his simulacrum. Ooom. But not this time, lady. “I had some trouble finding Mrs. Hamlin’s new name and address,” she said. “It was with our papers on the house, you know, tucked away, but I dug everything out, and now—”
“Yes,” Hamlin said. Blurted. A frantic need to get out of here. Throat dry; face flushed; eyes unfocused. Defending himself simultaneously against Macy’s assaults from within and the mockeries of this equipment from without. Her black bush and hot slot of no interest to him now. The unexpectedly overbearing atmosphere of his studio had unmanned him utterly. To escape, fast. Snatching the slip of paper from her startled hand. “Thankyouverymuchgottogonow.” Moving rapidly past her toward the door. Her face suddenly a rigid mask of surprise and anger: she knows she will be denied. Hell hath no fury.
She looks ten years older. Deep lines from cheeks to chin. The nipples going soft; the shoulders slumping. All her nakedness wasted on him. Her arm outstretched, the fingers working eagerly as if to pull him back. No chance. Hamlin had reached the exit. Out into the midday brightness. Pursued by phantom tendrils of feminine libido. “You needn’t leave so soon!” she calls to him. Hamlin made no reply. Glancing back once, saw her outside the studio door, naked well-endowed idle-rich lass on the threshold of middle age, bewildered by his panic, astounded by his rejection of her body. His panic bewildered him too. Head awhirl. Macy did his best to make things worse, yanking on all the neural lines at once. Hamlin yelped, but stayed in control, and went on running. Running. Run. Ning.
In the car again, jouncing helter-skelter westward across several counties, Macy wondered if they were going to survive this trip. These back roads didn’t have any protective strips, and thus the auto’s homeostasis mechanisms were essentially cancelled out; if the car started to slide off the road, nothing would keep it from smashing into the bulky oaks that awaited it.
And Hamlin was in a ghastly state. Madly gripping the stick. Eyes glazed in Dostoevskian fixity. Jaws clenched. He was driving on reflex alone, employing one tiny plaque of cerebral tissue to operate the vehicle while the rest of his mind wildly revolved the events of the past half hour. The car teetered from side to side on the narrow road, now and then crossing the center line or running onto the shoulder.
Most of Hamlin’s defenses were relaxed, but as before Macy feared to make a takeover attempt in a moving car. He hunkered down inside Hamlin’s brain as though it were a storm shelter and temporarily disconnected his optical hookup, for the view of the madly slewing road through Hamlin’s eyes was making him seasick. Better, this way. To sit in solemn silence in a dull dark dock. About him still flashed the lightnings and eruptions of Hamlin’s distress. The studio visit had really shaken him. Moving among his implements, his elaborate sculpting apparatus, Hamlin had seemed not to know what from which or up from down. Macy wondered why. Had the Rehab process done irreversible damage to the Hamlin persona? Was there actually nothing left of the original Nat Hamlin except a clutch of old memories, a cluster of attitudes and phrases, some tics and twitches of the spirit? The sculptor, the man of genius, had he been irretrievably demolished, and was this comeback merely a delusion?
On the other hand, Macy thought, it might have been the strain of maintaining control of their shared body that had so severely drained Hamlin’s psychic energy. There had been definite signs all day that Hamlin’s grip was none too strong and was slipping from hour to hour. In the morning, striding jauntily down the street to Gargan’s gallery, presenting the contract ultimatum to the fat dealer, all that hard bargaining—Hamlin had appeared to be in full command then, but by the end of the encounter with Gargan he had started to show some fatigue, and the troubles he had had in driving from the city to his Connecticut studio had revealed a further weakening of control.
And then the disastrous studio visit. Continued slippage. The battery running down and no time for recharging. It must take a constant terrific effort for Hamlin to operate this body, injured as he had been by the Rehab obliteration experts. Macy knew that he himself was nowhere near the point where he could regain the body, but the way things were going that moment couldn’t be very far away. It was coming. It was coming. Or was he fooling himself?
He reconnected the visuals. The car still careening along the suburban back roads. Hamlin sitting rigidly, lost in contemplation, paying minimal attention. Horrifying. The body wouldn’t be worth shit to them if Hamlin smashed up the car. Certainly fatal to both of them. But there was nothing Macy could do about that right now. He blanked the scene again, escaping. Diving down deep, burrowing into Hamlin’s memory bank. Everything there was accessible to him, all the stored scenes of his prior self’s active life. Failures and triumphs, mostly triumphs. The women. The critics. The press clippings. The one-man shows. The money. The accumulation of possessions. All
the surface glamour. Yet beneath the shiny shallow business of career-making Macy could see in Hamlin the authentic artistic impulse, the hunger to make his visions real. Give Hamlin credit for that. He had been a bastard, sure, still was, but he pursued a vision, he realized it, he gave it to the world. There are those who make and give, and those who take and consume, and Hamlin had been a maker and giver.
Macy envied that. Who are the real ones among us, anyway, if not those who create, who give, who enrich those about them? Regardless of their motives. Doing it for the money, for the ego trip, for whatever unworthy reason, but doing it. Having something worth doing and doing it. Hamlin was one of those.
I’m one of the consumers, thought Macy. Blame Gomez & Co., I guess: they could have made me someone worthwhile. Their own artistic achievement, their creative self-justification. But of course they aren’t paid to do that. Just to fill up vacant bodies with reasonably functional human beings. Gomez isn’t an artist, he’s a doctor, and he can’t transcend himself when he does a reconstruct. If I am second-rate, it’s because my makers were second-raters too.
Unlike this bastard Hamlin. Whose darker side was also visible: the inner collapse, the breaking free from moorings. Roaming the quiet streets. The artist as predator. Each rape neatly labeled and catalogued in the archives. And not just mere rape, either. Not just the shoving of Blunt Object X into Unwilling Orifice Y, but also the associated stuff, the peripherals, the leering, the mocking, the capering, the perversions, the garbage. Even in a permissive age there still are such things as abominations. Hamlin must have been out of his mind. The big-eyed twelve-year-old forced to watch her pretty young blond mother blowing the famous artist: what kind of scars does that leave on an unformed psyche? And all this buggery. A trail of torn sphincters across four states. Not even greasing it first. That’s sadism, Hamlin. Out of your fucking mind.
But how crazy were you, really? Didn’t you have a clear conscious awareness of what was going on, and didn’t you enjoy it? Yes. And wasn’t all this crap latent in you all along? Yes. Okay, something brought you out. Suddenly it was Monster Time in your head, and you went forth to fulfill all the steamy dreams you had nurtured since your cramped lonely adolescence. Right? Right. And filed everything away for subsequent gloating. No wonder they sentenced you to deconstruct. Jesus, I feel filthy just rummaging through this stuff. Maker of masterpieces. Giver of unique visions. And your demonic laughter underneath. Telling the court you were insane, that you were in the grip of an irresistible impulse, an obsessive compulsion, but were you? Perhaps you thought you were creating a new kind of work of art, made not out of paint or clay or plastic or bronze but out of bleeding invaded female bodies, an abstract sculpture composed of dozens of victims, forming a pattern you alone could have designed. Jesus. What a case for obliteration you were!