Dark Benediction

Thornier’s hands seemed to move of their own volition, playing reflexively in long-rehearsed roles. He cut the tapes. He took out one of the hot-splice packs and jerked the tab that started the chemical action. He clocked off fifteen seconds by his watch, then opened the pack and fitted into it the cut ends of the Granger tape and the Peltier identifying tongue, butted them carefully end to end, and closed the pack. When it stopped smoking, he opened it to inspect the splice. A neat patch, scarcely visible on the slick plastic tape. Granger’s analogue, labeled as Peltier’s. And the body of the mannequin was Peltier’s. He resealed it in its canister.

He wadded the Peltier tape and the Granger label and the extra delivery receipt copy into the other box. Then he pulled the truck out of the loading zone and drove through the heavy traffic like a racing jockey, trusting the anti-crash radar to see him safely through. As he crossed the bridge, he threw the Peltier tape out the window into the river. And then there was no retreat from what he had done.

Jade and Feria sat in the orchestra, watching the final act of the run-through with a dud Andreyev. When Thorny slipped in beside them, Jade wiped mock sweat from her brow.

“Thank God you’re back!” she whispered as he displayed the delayed packages. “Sneak backstage and run them up to Rick in the booth, will you? Thorny, I’m out of my mind!”

“Sorry, Miss Ferne.” Fearing that his guilty nervousness hung about him like a ragged cloak, he slipped quickly backstage and delivered the cartons to Thomas in the booth. The technician hovered over the Maestro as the play went on, and he gave Thornier only a quick nod and a wave.

Thorny retreated into misty old corridors and unused dressing rooms, now heaped with junk and remnants of other days. He had to get a grip on himself, had to quit quaking inside. He wandered alone in the deserted sections of the building, opening old doors to peer into dark cubicles where great stars had preened in other days, other nights. Now full of trunks and cracked mirrors and tarpaulins and junked mannequins. Faint odors lingered—nervous smells-perspiration, make-up, dim perfume that pervaded the walls. Mildew and dust—the aroma of time. His footsteps sounded hollowly through the unpeopled rooms, while muffled sounds from the play came faintly through the walls—the hysterical pleading of Marka, the harsh laughter of Piotr, the marching boots of the revolutionist guards, a burst of music toward the end of the scene.

He turned abruptly and started back toward the stage. It was no good, hiding away like this. He must behave normally, must do what he usually did. The falsified Peltier tape would not wreak its havoc until after the first run- through, when Thomas fed it into the Maestro, reset the machine, and prepared to start the second trial run. Until then, he must remain casually himself, and afterwards—?

Afterwards, things would have to go as he had planned.

Afterwards, Jade would have to come to him, as he believed she would. If she didn’t, then he had bungled, he had clumsily wrecked, and to no avail.

He slipped through the power-room where converters hummed softly, supplying power to the stage. He stood close to the entrance, watching the beginnings of scene iii, of the third act. Andreyev— the Peltier doll—was on alone, pacing grimly in his apartment while the low grumble of a street mob and the distant rattle of machine-gun fire issued from the Maestro-managed sound effect system. After a moment’s watching, he saw that Andreyev’s movements were not “grim” but merely methodical and lifeless. The tapeless mannequin, going through the required motions, robotlike, without interpretation of meaning. He heard a brief burst of laughter from someone in the production row, and after watching the zombie-like rendering of Andreyev in a suspenseful scene, he, too, found himself grinning faintly.

The pacing mannequin looked toward him suddenly with a dead-pan face. It raised both fists toward its face.

“Help,” it said in a conversational monotone. “Ivan, where are you? Where? Surely they’ve come; they must come.” It spoke quietly, without inflection. It ground its fists casually against its temples, paced mechanically again.

A few feet away, two mannequins that had been standing frozen in the off-stage lineup, clicked suddenly to life. As ghostly calm as display window dummies, they galvanized suddenly at a signal pulse command from the Maestro. Muscles—plastic sacs filled with oil-suspended magnetic powder and wrapped with elastic coils of wire, like flexible solenoids-tightened and strained beneath the airfoam flesh, working spasmodically to the pulsing rhythms of the polychromatic u.h.f. commands of the Maestro. Expressions of fear and urgency leaped to their faces. They crouched, tensed, looked around, then burst on stage, panting wildly.

“Comrade, she’s come, she’s come!” one of them screamed. “She’s come with him, with Boris!”

“What? She has him prisoner?” came the casual reply. “No, no, comrade. We’ve been betrayed. She’s with him. She’s a traitor, she’s sold out to them.”

There was no feeling in the uninterpreted Andreyev’s responses, even when he shot the bearer of bad tidings through the heart.

Thornier grew fascinated with watching as the scene progressed. The mannequins moved gracefully, their movements sinuous and more evenly flowing than human, they seemed boneless. The ratio of mass-to-muscle power of their members was carefully chosen to yield the flow of a dance with their every movement. Not clanking mechanical robots, not stumbling puppets, the dolls sustained patterns of movement and expression that would have quickly brought fatigue to a human actor, and the Maestro coordinated the events on stage in a way that would be impossible to a group of humans, each an individual and thinking independently.

It was as always. First, he looked with a shudder at the Machine moving in the stead of flesh and blood, at Mechanism sitting in the seat of artistry. But gradually his chill melted away, and the play caught him, and the actors were no longer machines. He lived in the role of Andreyev, and breathed the lines off-stage, and he knew the rest of them: Meta and Pettier, Sam Dion and Peter Repplewaite. He tensed with them, gritted his teeth in anticipation of difficult lines, cursed softly at the dud Andreyev, and forgot to listen for the faint crackle of sparks as the mannequins’ feet stepped across the copper-studded floor, drinking energy in random bites to keep their storage packs near full charge.

Thus entranced, he scarcely noticed the purring and brushing and swishing sounds that came from behind him, and grew louder. He heard a quiet mutter of voices nearby, but only frowned at the distraction, kept his attention rooted to the stage.

Then a thin spray of water tickled his ankles. Something soggy and spongelike slapped against his foot. He whirled.

A gleaming metal spider, three feet high came at him slowly on six legs, with two grasping claws extended. It clicked its way toward him across the floor, throwing out a thin spray of liquid which it promptly sucked up with the spongelike proboscis. With one grasping claw, it lifted a ten-gallon can near his leg, sprayed under it, swabbed, and set the can down again.

Thornier came unfrozen with a howl, leaped over the thing, hit the wet-soapy deck off balance. He skidded and sprawled. The spider scrubbed at the floor toward the edge of the stage, then reversed directions and came back toward him.

Groaning, he pulled himself together, on hands and knees. D’Uccia’s cackling laughter spilled over him. He glanced up. The chubby manager and the servo salesman stood over him, the salesman grinning, D’Uccia chortling.

“Datsa ma boy, datsa ma boy! Always, he watcha the show, then he don’t swip-op around, then he wantsa day off. Thatsa ma boy, for sure.” D’Uccia reached down to pat the metal spider’s chassis. “Hey, ragazzo,” he said again to Thornier, “want you should meet my new boy here. This one, he don’t watcha the show like you.”

He got to his feet, ghost-white and muttering. D’Uccia took closer note of his face, and his grin went sick. He inched back a step. Thornier glared at him briefly, then whirled to stalk away. He whirled into near collision with the Mela Stone mannequin, recovered, and started to pass in back of it.

Then he froze.

The Mela Stone mannequin was on stage, in the final scene. And this one looked older, and a little haggard. It wore an expression of shocked surprise as it looked him up and down. One hand darted to its mouth.

“Thorny—!” A frightened whisper.

“Mesa!” Despite the play, he shouted it, opening his arms to her. “Mela, how wonderful!”