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The Crying of Lot 49《拍卖第49号》


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she left Kinneret, then, with no idea she was moving toward anything new. Mucho Maas, enigmatic, whis­tling "I Want to Kiss Your Feet," a new recording by Sick Dick and the Volkswagens (an English group he was fond of at that time but did not believe in), stood with hands in pockets while she explained about going down to San Narciso for a while to look into Pierce's books and records and confer with Metzger, the co-executor. Mucho was sad to see her go, but not desper­ate, so after telling him to hang up if Dr Hilarius called and look after the oregano in the garden, which had contracted a. strange mold, she went.

San Narciso lay further south, near L.A. Like many named places in California it was less an identifiable city than a grouping of concepts—census tracts, special purpose bond-issue districts, shopping nuclei, all over­laid with access roads to its own freeway. But it had been Pierce's domicile, and headquarters: the place he'd begun his land speculating in ten years ago, and so put down the plinth course of capital on which everything afterward had been built, however rickety or grotesque, toward the sky; and that, she supposed, would set the spot apart, give it an aura. But if there was any vital difference between it and the rest of Southern Califor­nia, it was invisible on first glance. She drove into San Narciso on a Sunday, in a rented Impala. Nothing was happening. She looked down a slope, needing to squint for the sunlight, onto a vast sprawl of houses which had grown up all together, like a well-tended crop, from the dull brown earth; and she thought of the time she'd opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. Though she knew even less about radios than about Southern Californians, there were to both out­ward patterns a hieroglyphic sense of concealed mean­ing, of an intent to communicate. There'd seemed no limit to what the printed circuit could have told her (if she had tried to find out); so in her first minute of San Narciso, a revelation also trembled just past the thresh­old of her understanding. Smog hung all round the horizon, the sun on the bright beige countryside was painful; she and the Chevy seemed parked at the centre of an odd, religious instant. As if, on some other

frequency, or out of the eye of some whirlwind rotating too slow for her heated skin even to feel the centrifugal coolness of, words were being spoken. She suspected that much. She thought of Mucho, her husband, trying to believe in his job. Was it something like this he felt, looking through the soundproof glass at one of his colleagues with a headset clamped on and cueing the next record with movements stylized as the handling of chrism, censer, chalice might be for a holy man, yet really tuned in to the voice, voices, the music, its message, surrounded by it, digging it, as were all the faithful it went out to; did Mucho stand outside Studio A looking in, knowing that even if he could hear it he couldn't believe in it?

She gave it up presently, as if a cloud had ap­proached the sun or the smog thickened, and so broken the "religious instant," whatever it might've been; started up and proceeded at maybe 70 mph along the singing blacktop, onto a highway she thought went toward Los Angeles, into a neighborhood that was little more than the road's skinny right-of-way, lined by auto lots, escrow services, drive-ins, small office buildings and factories whose address numbers were in the 70 and then 80,000's. She had never known numbers to run so high. It seemed unnatural. To her left appeared a pro­longed scatter of wide, pink buildings, surrounded by miles of fence topped with barbed wire and interrupted now and then by guard towers: soon an entrance whizzed by, two sixty-foot missiles on either side and the name yoyodyne lettered conservatively on each nose cone. This was San Narciso's big source of em­ployment, the Galactronics Division of Yoyodyne, Inc., one of the giants of the aerospace industry. Pierce, she happened to know, had owned a large block of shares, had been somehow involved in negotiating an under­standing with the county tax assessor to lure Yoyodyne here in the first place. It was part, he explained, of being a founding father.

Barbed wire again gave way to the familiar parade of more beige, prefab, cinderblock office machine dis­tributors, sealant makers, bottled gas works, fastener factories, warehouses, and whatever. Sunday had sent them all into silence and paralysis, all but an occasional real estate office or truck stop. Oedipa resolved to pull in at the next motel she saw, however ugly, stillness and four walls having at some point become preferable to this illusion of speed, freedom, wind in your hair, unreeling landscape—it wasn't. What the road really was, she fancied, was this hypodermic needle, inserted somewhere ahead into the vein of a freeway, a vein nourishing the mainliner L.A., keeping it happy, co­herent, protected from pain, or whatever passes, with a city, for pain. But were Oedipa some single melted crystal of urban horse, L.A., really, would be no less turned on for her absence.

Still, when she got a look at the next motel, she hesitated a second. A representation in painted sheet metal of a nymph holding a white blossom towered thirty feet into the air; the sign, lit up despite the sun, said "Echo Courts." The face of the nymph was much like Oedipa's, which didn't startle her so much as a concealed blower system that kept the nymph's gauze chiton in constant agitation, revealing enormous vermil­ion-tipped breasts and long pink thighs at each flap. She was smiling a lipsticked and public smile, not quite a hooker's but nowhere near that of any nymph pining away with love either. Oedipa pulled into the lot, got out and stood for a moment in the hot sun and the dead-still air, watching the artificial windstorm over­head toss gauze in five-foot excursions. Remembering her idea about a slow whirlwind, words she couldn't hear.

The room would be good enough for the time she had to stay. Its door opened on a long courtyard with a swimming pool, whose surface that day was flat, bril­liant with sunlight. At the far end stood a fountain, with another nymph. Nothing moved. If people lived behind the other doors or watched through the win­dows gagged each with its roaring air-conditioner, she couldn't see them. The manager, a drop-out named Miles, maybe 16 with a Beatle haircut and a lapelless, cuffless, one-button mohair suit, carried her bags and sang to himself, possibly to her:

miles's  song  Too fat to Frug,

That's what you tell me all the time,

 When you really try'n' to put me down, But I'm hip,

So close your big fat lip, Yeah, baby,

I may be too fat to Frug, But at least I ain't too slim to Swim.

"It's lovely," said Oedipa, "but why do you sing with an English accent when you don't talk that way?"

"It's this group I'm in," Miles explained, "the Paranoids. We're new yet. Our manager says we should sing like that. We watch English movies a lot, for the accent."

"My husband's a disk jockey," Oedipa trying to be helpful, "it's only a thousand-watt station, but if you had anything like a tape I could give it to him to plug." Miles closed the door behind them and started in with the shifty eye. "In return for what?" Moving in on her. "Do you want what I think you want? This is the Payola Kid here, you know." Oedipa picked up the nearest weapon, which happened to be the rabbit-ear antenna off the TV in the corner. "Oh," said Miles, stopping. "You hate me too." Eyes bright through his bangs.

"You are a paranoid," Oedipa said. "I have a smooth young body," said Miles, "I thought you older chicks went for that." He left after shaking her down for four bits for carrying the bags.

That night the lawyer Metzger showed up. He turned out to be so good-looking that Oedipa thought at first They, somebody up there, were putting her on. It had to be an actor. He stood at her door, behind him the oblong pool shimmering silent in a mild diffusion of light from the nighttime sky, saying, "Mrs Maas," like a reproach. His enormous eyes, lambent, extravagantly lashed, smiled out at her wickedly; she looked around him for reflectors, microphones, camera cabling, but there was only himself and a debonair bottle of French Beaujolais, which he claimed to've smuggled last year into California, this rollicking lawbreaker, past the frontier guards.

"So hey," he murmured, "after scouring motels all day to find you, I can come in there, can't I?"

Oedipa had planned on nothing more involved that evening than watching Bonanza on the tube. She'd shifted into stretch denim slacks and a shaggy black sweater, and had her hair all the way down. She knew she looked pretty good. "Come in," she said, "but I only have one glass."

"I," the gallant Metzger let her know, "can drink out of the bottle." He came in and sat on the floor, in his suit. Opened the bottle, poured her a drink, began to talk. It presently came out that Oedipa hadn't been so far off, thinking it was an actor. Some twenty-odd years ago, Metzger had been one of those child movie stars, performing under the name of Baby Igor. "My mother," he announced bitterly, "was really out to kasher me, boy, like a piece of beef on the sink, she wanted me drained and white. Times I wonder," smoothing down the hair at the back of his head, "if she succeeded. It scares me. You know what mothers like that turn their male children into."

"You certainly don't look," Oedipa began, then had second thoughts.

Metzger flashed her a big wry couple rows of teeth. "Looks don't mean a thing any more," he said. "I live inside my looks, and I'm never sure. The possibility haunts me."

"And how often," Oedipa inquired, now aware it was all words, "has that line of approach worked for you, Baby Igor?"

"Do you know," Metzger said, "Inverarity only mentioned you to me once." "Were you close?" "No. I drew up his will. Don't you want to know what he said?"

"No," said Oedipa, and snapped on the television set. Onto the screen bloomed the image of a child of indeterminate sex, its bare legs pressed awkward together, its shoulder-length curls mingling with the shorter hair of a St Bernard, whose long tongue, as Oedipa watched, began to swipe at the child's rosy cheeks, making the child wrinkle up its nose appealingly and say, "Aw, Murray, come on, now, you're getting me all wet."

"That's me, that's me," cried Metzger, staring, "good God."

"Which one?" asked Oedipa. "That movie was called," Metzger snapped his fingers, "Cashiered."

"About you and your mother." "About this kid and his father, who's drummed out of the British Army for cowardice, only he's covering up for a friend, see, and to redeem himself he and the kid follow the old regiment to Gallipoli, where the father somehow builds a midget submarine, and every week they slip through the Dardanelles into the Sea of Marmara and torpedo the Turkish merchantmen, the father, son, and St Bernard. The dog sits on periscope watch, and barks if he sees anything."

Oedipa was pouring wine. "You're kidding." "Listen, listen, here's where I sing." And sure enough, the child, and dog, and a merry old Greek fish­erman who had appeared from nowhere with a zither, now all stood in front of phony-Dodecanese process footage of a seashore at sunset, and the kid sang.

baby igor's song

'Gainst the Hun and the Turk, never once do -we shirk, My daddy, my doggie and me.

Through the perilous years, like the Three Musketeers, We will stick just as close as can be. Soon our sub's periscope'll aim for Constantinople, As again we set hopeful to sea;

Once more unto the breach, for those boys on the beach,

Just my daddy, my doggie and me.

 

Then there was a musical bridge, featuring the fisher­man and his instrument, then the young Metzger took it from the top while his aging double, over Oedipa's protests, sang harmony.

Either he made up the whole thing, Oedipa thought suddenly, or he bribed the engineer over at the local station to run this, it's all part of a plot, an elaborate, seduction, plot. O Metzger. "You didn't sing along," he observed. "I didn't know," Oedipa smiled. On came a loud commercial for Fangoso Lagoons, a new housing devel­opment west of here.

"One of Inverarity's interests," Metzger noted. It was to be laced by canals with private landings for power boats, a floating social hall in the middle of an artificial lake, at the bottom of which lay restored galleons, imported from the Bahamas; Atlantean frag­ments of columns and friezes from the Canaries; real human skeletons from Italy; giant clamshells from Indonesia-all for the entertainment of Scuba enthusi­asts. A map of the place flashed onto the screen, Oedipa drew a sharp breath, Metzger on the chance it might be for him looked over. But she'd only been reminded of her look downhill this noontime. Some immediacy was there again, some promise of hierophany: printed cir­cuit, gently curving streets, private access to the water, Book of the Dead. . . .

Before she was ready for it, back came Cashiered. The little submarine, named the "Justine" after the dead mother, was at the quai, singling up all lines. A small crowd was seeing it off, among them the old fisherman, and his daughter, a leggy, ringletted nymphet who, should there be a happy ending, would end up with Metzger; an English missionary nurse with a nice build on her, who would end up with Metzger's father; and even a female sheepdog with eyes for Mur­ray the St Bernard.

"Oh, yeah," Metzger said, "this is where we have trouble in the Narrows. It's a bitch because of the Kephez minefields, but Jerry has also recently hung this net, this gigantic net, woven out of cable 2 l/2 inches thick."

Oedipa refilled her wine glass. They lay now, staring at the screen, flanks just lightly touching. There came from the TV set a terrific explosion. "Mines!" cried Metzger, covering his head and rolling away from her. "Daddy," blubbered the Metzger in the tube, "I'm scared." The inside of the midget sub was chaotic, the dog galloping to and fro scattering saliva that mingled with the spray from a leak in the bulkhead, which the father was now plugging with his shirt. "One thing we can do," announced the father, "go to the bottom, try to get under the net."

"Ridiculous," said Metzger. "They'd built a gate init, so German U-boats could get through to attack the British fleet. All our E class subs simply used that gate."                                                                

"How do you know that?"

"Wasn't I there?"

"But," began Oedipa, then saw how they were suddenly out of wine.

"Aha," said Metzger, from an inside coat pocket producing a bottle of tequila.

"No lemons?" she asked, with movie-gaiety. "No salt?"

"A tourist thing. Did Inverarity use lemons when you were there?"

"How did you know we were there?" She watched him fill her glass, growing more anti-Metzger as the

level rose.

"He wrote it off that year as a Business expense. I did his tax stuff."

"A cash nexus," brooded Oedipa, "you and Perry Mason, two of a kind, it's all you know about, you

shysters."

"But our beauty lies," explained Metzger, "in this extended capacity for convolution. A lawyer in a court­room, in front of any jury, becomes an actor, right? Raymond Burr is an actor, impersonating a lawyer, who in front of a jury becomes an actor. Me, I'm a former actor who became a lawyer. They've done the pilot film of a TV series, in fact, based loosely on my career, starring my friend Manny Di Presso, a one-time lawyer who quit his firm to become an actor. Who in this pilot plays me, an actor become a lawyer reverting periodically to being an actor. The film is in an air-conditioned vault at one of the Hollywood studios, light can't fatigue it, it can be repeated endlessly."

"You're in trouble," Oedipa told him, staring at the tube, conscious of his thigh, warm through his suit and her slacks. Presently:

"The Turks are up there with searchlights," he said, pouring more tequila, watching the little sub­marine fill up, "patrol boats, and machine guns. You want to bet on what'll happen?"

"Of course not," said Oedipa, "the movie's made." He only smiled back. "One of your endless repeti­tions."

"But you still don't know," Metzger said. "You haven't seen it." Into the commercial break now roared a deafening ad for Beaconsfield Cigarettes, whose at­tractiveness lay in their filter's use of bone charcoal, the very best kind.

"Bones of what?" wondered Oedipa.

"Inverarity knew. He owned 51% of the filter process."

"Tell me."

"Someday. Right now it's your last chance to place your bet. Are they going to get out of it, or not?"

She felt drunk. It occurred to her, for no reason, that the plucky trio might not get out after all. She had no way to tell how long the movie had to run. She looked at her watch, but it had stopped. "This is absurd," she said, "of course they'll get out."

"How do you know?"

"All those movies had happy endings."

"All?"

"Most."

"That cuts down the probability," he told her, smug.

She squinted at him through her glass. "Then give me odds."

"Odds would give it away."

"So," she yelled, maybe a bit rattled, "I bet a bottle of something. Tequila, all right? That you didn't make it." Feeling the words had been conned out of her.

'That I didn't make it." He pondered. "Another bottle tonight would put you to sleep," he decided. "No."

"What do you want to bet, then?" She knew. Stubborn, they watched each other's eyes for what seemed five minutes. She heard commercials chasing one another into and out of the speaker of the TV. She grew more and more angry, perhaps juiced, perhaps only impatient for the movie to come back on.

"Fine then," she gave in at last, trying for a brittle voice, "it's a bet. Whatever you'd like. That you don't make it. That you all turn to carrion for the fish at the bottom of the Dardanelles, your daddy, your doggie, and you."

"Fair enough," drawled Metzger, taking her hand as if to shake on the bet and kissing its palm instead, sending the dry end of his tongue to graze briefly among her fate's furrows, the changeless salt hatchings of her identity. She wondered then if this were really happen­ing in the same way as, say, her first time in bed with Pierce, the dead man. But then the movie came back.

The father was huddled in a shell hole on the steep cliffs of the Anzac beachhead, Turkish shrapnel flying all over the place. Neither Baby Igor nor Murray the dog were in evidence. "Now what the hell," said Oedipa.

"Golly," Metzger said, "they must have got the reels screwed up."

"Is this before or after?" she asked, reaching for the tequila bottle, a move that put her left breast in the region  of Metzger's  nose. The irrepressibly comic Metzger made cross-eyes before replying, "That would be telling."

"Come on." She nudged his nose with the padded tip of her bra cup and poured booze. "Or the bet's off."

"Nope," Metzger said.

"At least tell me if that's his old regiment, there."

"Go ahead," said Metzger, "ask questions. But for each answer, you'll have to take something off. We'll call it Strip Botticelli."

Oedipa had a marvelous idea: "Fine," she told him, "but first I'll just slip into the bathroom for a second. Close your eyes, turn around, don't peek." On the screen the "River Clyde," a collier carrying 2000 men, beached at Sedd-el-Bahr in an unearthly silence. "This is it, men," a phony British accent was heard to whisper. Suddenly a host of Turkish rifles on shore opened up all together, and the massacre began.

"I know this part," Metzger told her, his eyes squeezed shut, head away from the set. "For fifty yards out the sea was red with blood. They don't show that." Oedipa skipped into the bathroom, which happened also to have a walk-in closet, quickly undressed and began putting on as much as she could of the clothing she'd brought with her: six pairs of panties in assorted colors, girdle, three pairs of nylons, three brassieres, two pairs stretch slacks, four half-slips, one black sheath, two summer dresses, half dozen A-line skirts, three sweaters, two blouses, quilted wrapper, baby blue peignoir and old Orion muu-muu. Bracelets then, scatter pins, ear­rings, a pendant. It all seemed to take hours to put on and she could hardly walk when she was finished. She made the mistake of looking at herself in the full-length mirror, saw a beach ball with feet, and laughed so violently she fell over, taking a can of hair spray on the sink with her. The can hit the floor, something broke, and with a great outsurge of pressure the stuff com-

menced atomizing, propelling the can swiftly about the bathroom. Metzger rushed in to find Oedipa rolling around, trying to get back on her feet, amid a great sticky miasma of fragrant lacquer. "Oh, for Pete's sake," he said in his Baby Igor voice. The can, hissing malig­nantly, bounced off the toilet and whizzed by Metzger's right ear, missing by maybe a quarter of an inch. Metzger hit the deck and cowered with Oedipa as the can continued its high-speed caroming; from the other room came a slow, deep crescendo of naval bombard­ment,   machine-gun,  howitzer  and   small-arms   fire, screams and chopped-off prayers of dying infantry. She looked up past his eyelids, into the staring ceiling light, her field of vision cut across by wild, flashing over­flights of the can, whose pressure seemed inexhaustible. She was scared but nowhere near sober. The can knew where it was going, she sensed, or something fast enough, God or a digital machine, might have com­puted in advance the complex web of its travel; but she wasn't fast enough, and knew only that it might hit them at any moment, at whatever clip it was doing, a hundred miles an hour. "Metzger," she moaned, and sank her teeth into his upper arm, through the shark­skin. Everything smelled like hair spray. The can col­lided with a mirror and bounced away, leaving a silvery, reticulated bloom of glass to hang a second before it all fell jingling into the sink; zoomed over to the enclosed shower, where it crashed into and totally destroyed a panel of frosted glass; thence around the three tile walls, up to the ceiling, past the light, over the two prostrate bodies, amid its own whoosh and the buzzing, distorted uproar from the TV set. She could imagine no end to it; yet presently the can did give up in mid-flight and fall to the floor, about a foot from Oedipa's nose. She lay watching it.

"Blimey," somebody remarked. "Coo." Oedipa took her teeth out of Metzger, looked around and saw in the doorway Miles, the kid with the bangs and mohair suit, now multiplied by four. It seemed to be the group he'd mentioned, the Paranoids. She couldn't tell them apart, three of them were carrying electric guitars, they all had their mouth open. There also appeared a number of girls' faces, gazing through armpits and around angles of knees. "That's kinky," said one of the girls.

"Are you from London?" another wanted to know: "Is that a London thing you're doing?" Hair spray hung like fog, glass twinkled all over the floor. "Lord love a duck," summarized a boy holding a passkey, and Oedipa decided this was Miles. Deferent, he began to narrate for their entertainment a surfer orgy he had been to the week before, involving a five-gallon can of kidney suet, a small automobile with a sun roof, and a trained seal.

"I'm sure this pales by comparison," said Oedipa, who'd succeeded in rolling over, "so why don't you all just, you know, go outside. And sing. None of this works without mood music. Serenade us."

"Maybe later," invited one of the other Paranoids shyly, "you could join us in the pool."

"Depends how hot it gets in here, gang," winked jolly Oedipa. The kids filed out, after plugging exten­sion cords into all available outlets in the other room and leading them in a bundle out a window.

Metzger helped her stagger to her feet. "Anyone for Strip Botticelli?" In the other room the TV was

blaring a commercial for a Turkish bath in downtown San Narciso, wherever downtown was, called Hogan's Seraglio. "Inverarity owned that too," Metzger said. "Did you know that?"

"Sadist," Oedipa yelled, "say it once more, I'll wrap the TV tube around your head,"

"You're really mad," he smiled.

She wasn't, really. She said, "What the hell didn't he own?"

Metzger cocked an eyebrow at her. "You tell me."

If she was going to she got no chance, for outside, all in a shuddering deluge of thick guitar chords, the Paranoids had broken into song. Their drummer had set up precariously on the diving board, the others were invisible. Metzger came up behind her with some idea of cupping his hands around her breasts, but couldn't immediately find them because of all the clothes. They stood at the window and heard the Paranoids singing.

serenade

As I lie and watch the moon On the lonely sea, Watch it tug the lonely tide Like a comforter over me, The still and faceless moon Fills the beach tonight With only a ghost of day, All shadow gray, and moonbeam white. And you lie alone tonight, As alone as I;

Lonely girl in your lonely flat, well, that's where it's at, So hush your lonely cry.

How can I come to you, put out the moon, send back the tide?

The night has gone so gray, I'd lose the way, and it's

dark inside. No, I must lie alone, Till it comes for me; Till it takes the sky, the sand, the moon, and the

lonely sea. And the lonely sea . . . etc.        [fade out.]

"Now then," Oedipa shivered brightly.

"First question," Metzger reminded her. From the TV set the St Bernard was barking. Oedipa looked and saw Baby Igor, disguised as a Turkish beggar lad, skulking with the dog around a set she took to be Constantinople.

"Another early reel," she said hopefully.

"I can't allow that question," Metzger said. On the doorsill the Paranoids, as we leave milk to propitiate the leprechaun, had set a fifth of Jack Daniels.

"Oboy," said Oedipa. She poured a drink. "Did Baby Igor get to Constantinople in the good submarine 'Justine'?"

"No," said Metzger. Oedipa took off an earring. "Did he get there in, what did you call them, in an E Class submarine."

"No," said Metzger. Oedipa took off another ear­ring.

"Did he get there overland, maybe through Asia Minor?"

"Maybe," said Metzger. Oedipa took off another earring.

"Another earring?" said Metzger. "If I answer that, will you take something off?" "I'll do it without an answer," roared Metzger, shucking out of his coat. Oedipa refilled her glass, Metzger had another snort from the bottle. Oedipa then sat five minutes watching the tube, forgetting she was supposed to ask questions. Metzger took his trou­sers off, earnestly. The father seemed to be up before a court-martial, now.

"So," she said, "an early reel. This is where he gets cashiered, ha, ha."

"Maybe it's a flashback," Metzger said. "Or maybe he gets it twice." Oedipa removed a bracelet. So it went: the succession of film fragments on the tube, the pro­gressive removal of clothing that seemed to bring her no nearer nudity, the boozing, the tireless shivaree, of voices and guitars from out by the pool. Now and then a commercial would come in, each time Metzger would say, "Inverarity's," or "Big block of shares," and later settled for nodding and smiling. Oedipa would scowl back, growing more and more certain, while a head­ache began to flower behind her eyes, that they among all possible combinations of new lovers had found a way to make time itself slow down. Things grew less and less clear. At some point she went into the bath­room,  tried  to  find her image in  the  mirror and couldn't. She had a moment of nearly pure terror. Then remembered that the mirror had broken and fallen in sink.  "Seven years' bad luck," she said aloud. "I'll be 35." She shut the door behind her and took the occasion to blunder, almost absently, into another slip and skirt, as well as a long-leg girdle and a couple pairs of knee socks. It struck her that if the sun ever came up Metzger would disappear. She wasn't sure if she wanted him to. She came back in to find Metzger wearing only a pair of boxer shorts and fast asleep with a harden and his head under the couch. She noticed also a fat stomach the suit had hidden. On the screen New Zealanders and Turks were impaling one another on bayonets. With a cry Oedipa rushed to him, fell on him, began kissing him to wake him up. His radiant eyes flew open, pierced her, as if she could feel the sharpness somewhere vague between her breasts. She sank with an enormous sigh that carried all rigidity like a mythical fluid from her, down next to him; so weak she couldn't help him undress her; it took him 20 minutes, rolling, arranging her this way and that, as if she thought, he were some scaled-up, short-haired, poker-faced little girl with a Barbie doll. She may have fallen asleep once or twice. She awoke at last to find herself getting laid; she'd come in on a sexual crescendo in progress, like a cut to a scene where the camera's already moving. Outside a fugue of guitars had begun, and she counted each electronic voice as it came in, till she reached six or so and recalled only three of the Paranoids played guitars; so others must be plugging in.

Which indeed they were. Her climax and Metzger's, when it came, coincided with every light in the place, including the TV tube, suddenly going out, dead, black. It was a curious experience. The Paranoids had blown a fuse. When the lights came on again, and she and Metzger lay twined amid a wall-to-wall scatter of clothing and spilled bourbon, the TV tube revealed the father, dog and Baby Igor trapped inside the darken­ing "Justine," as the water level inexorably rose. The dog was first to drown, in a great crowd of bubbles. The camera came in for a close-up of Baby Igor crying, one hand on the control board. Something short-circuited then and the grounded Baby Igor was electrocuted,

thrashing back and forth and screaming horribly. Through one of those Hollywood distortions in proba­bility, the father was spared electrocution so he could make a farewell speech, apologizing to Baby Igor and the dog for getting them into this and regretting that they wouldn't be meeting in heaven: "Your little eyes have seen your daddy for the last time. You are for salvation; I am for the Pit." At the end his suffering eyes filled the screen, the sound of incoming water grew deafening, up swelled that strange 30's movie music with the massive sax section, in faded the legend the

end.

Oedipa had leaped to her feet and run across to the other wall to turn and glare at Metzger. "They didn't make it!" she yelled. "You bastard, I won."

"You won me," Metzger smiled.

"What did Inverarity tell you about me," she asked

finally.

"That you wouldn't be easy."

She began to cry.

"Come back," said Metzger. "Come on."

After awhile she said, "I will." And she did.

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