A CHILD ACROSS THE SKY by Jonathan Carroll flyleaf: Across America, readers are delighting in what their European counterparts have long recognized: Jonathan Carroll is a novelist of rare and terrifying power. Pat Conroy first recognized Carroll's magic, calling him a "cult waiting to be born." Now, spanning the literary spectrum from Stephen King to Ruth Rendell, _Booklist_ to the _Berkeley Beat_, the growing and diverse ranks of believers testify to the fact that Carroll is the first orignial movement in contemporary American literature. _A Child Across the Sky_ is a modern _Faust_, a seductive psychological descent into evil set in the chic world of film. An intellectual, Oscar-winning filmmaker, Weber Greston is horrified to learn that his best friend Philip Strayhorn has committed suicide. Strayhorn, the creator and antihero of the cult series of "Midnight" films, leaves behind only a disturbing videotape as explanation. The tape forces Weber to confront the twisted significance of Phil's movies. In the process, he learns not only how little he knew about his best friend, but also just how far he's willing to go in the name of Art. Carroll's fifth novel and his richest offering, _A Child Across the Sky_ shimmers with invention and feeling. It is both a stunning addition to his work and, for those who have yet to experience Carroll, a dazzling entree to his world. JONATHAN CARROLL is the author of _The Land of Laughs_, _Voice of Our Shadow_, _Bones of the Moon_, and _Sleeping in Flame_. He lives in Vienna. Jacket illustration by Janet Woolley Jacket typography by Suzanne Noli PUBLISHED BY DOUBLEDAY a division of Bantam Doubleday Dell Publishing Group, Inc. 666 Fifth Avenue, New York, New York 10103 DOUBLEDAY and the portrayal of an anchor with a dolphin are trademarks of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc. All of the characters in this book are fictitious, and any resemblance to actual persons, living or dead, is purely coincidental. Library of Congress Cataloging-in-Publication Data Carroll, Jonathan, 1949- A child across the sky / by Jonathan Carroll. -- 1st ed. in the U.S.A. p. cm. I. Title. PS3553. A7646C5 1990 813'.54 -- dc20 89-29086 CIP ISBN 0-385-26535-2 Copyright (c) 1990 by Jonathan Carroll All Rights Reserved Printed in the United States of America August 1990 FIRST EDITION For Beverly -- My life across the sky "They are coming to teach us good manners. . . . But they won't succeed because we are gods." Giuseppe Lampedusa, _The Leopard_ one _The people_ _one loves_ _should take all_ _their things_ _with them when they die._ GABRIEL GARCÍA MÁRQUEZ _Love in the Time of Cholera_ 1 An hour before he shot himself, my best friend Philip Strayhorn called to talk about thumbs. "Ever noticed when you wash your hands how you don't really do your thumbs?" "What do you mean?" "It's your most important finger, but because it sticks out, away from the rest, you don't really wash it. A little dip and rub, maybe, but not nearly enough attention for all the work it does. It's probably the finger that gets dirtiest, too." "That's what you called to tell me, Phil?" "It's very symbolic. Think about it. . . . What are you reading these days?" "Plays. I'm still trying to find the right ones." "I have to tell you I bumped into Lee Onax the other day. Said he'll still give you half a million if you direct for him." "I don't want to direct films anymore, Phil. You know how I feel." "Sure, but five hundred thousand dollars would help your theater a lot." "_Five_ dollars would help a lot. But if I went back and did a film now, it'd be fun and seductive and I'd probably want to direct movies again." "Remember in the _Aeneid_ the hundred and forty thousand different kinds of pain? I wonder what number yours would be? 'I don't want to be a famous Hollywood director anymore because it'd make me confused.' Pain number 1387." "Where are you calling from, Phil?" "LA. We're still cutting the film." "What's the title?" "_Midnight Kills_." I grinned. "Terrific. What's the most horrible thing you do in it?" The telephone line hissed over the three thousand miles. "Are you still there, Phil?" "Yeah. The most horrible thing is what I _didn't_ do." "You were making a movie, man. Bad things happen sometimes." "Uh-huh. How are _you_ doing, Weber?" "Good. One of my main actors is really sick, but you've got to expect that when you're working here." I looked at the small Xeroxed poster tacked to the board above my desk. THE NEW YORK CANCER PLAYERS PRESENT FRIEDRICH DÜRRENMATT'S "THE VISIT." "Our Opening night is in a month. We're all getting nervous." "Theater's so different, isn't it? With movies, opening night means everything is finished: nothing you can do but sit back and watch. In the theater, though, it's all beginning. I remember that." There was a worn-out echo in his voice that I took for exhaustion. I was wrong. Sasha Makrianes called to tell me he was dead. She'd gone over to cook lunch and found him sitting on the patio in his favorite high-backed armchair. From behind, it looked like he'd fallen asleep while reading. A copy of Rilke's poetry was on the ground next to him, as well as an unopened can of Dr. Pepper. She called his name, then saw the book was covered with blood. Going over, she saw him slumped forward, what was left of his head spewed in a wide splintered arc over everything. Running into the house to telephone the police, she found the body of Flea, his Shar-Pei dog, in the big brown wicker basket Phil brought from Yugoslavia. Hearing he'd killed the dog too was almost as shocking as the news of Phil's death. Sasha often joked through gritted teeth that he loved Flea as much as her. The first thing that came to my mind was our thumb discussion. Was he thinking about that an hour later as he loaded the gun and put it in his mouth? Why had he chosen _that_ as the topic of our last conversation? A few years before, we'd been through an earthquake together. As the ground rumbled, Phil kept saying over and over, "This isn't a movie! This is _not_ a movie!" We'd been creating or adapting scripts so long that all part of me could think of was setting and the last words this character, Philip Strayhorn, would have chosen. I was ashamed my mind worked like that, but if Phil had known he would have laughed. In the process of spending almost twenty years trying to get our names onto the silver screen, we'd lost parts of our objectivity toward life. When someone you love dies, you should weep -- not think of camera angles or last lines. After the phone call, I went out for a walk. There was a travel agent down the street; I'd book a flight to California the next day. But a few steps out the door, I realized what I really wanted to do was visit Cullen James. Cullen and her husband, Danny, lived up on Riverside Drive, a good hour's walk from my apartment. Pulling up my collar, I started out with the hope exercise and the tiredness it'd bring would take some of the edge off the news of Philip Strayhorn's death. In the last few years, Cullen had become famous in a peculiar sort of way. When we first met, she was going through what could best be described as an "otherworldly experience." Every night for a number of months she dreamt of a land called Rondua where she traveled on a bizarre quest after something called the "bones of the moon." I fell in love with her then, which was very bad because she was happily married to a nice man and nursing their first child. I am not a wife stealer, but Cullen James made me crazy and I went after her as if she were the gold ring on my personal carousel. If I'd been a sailor, I'd have had her name tattooed on my arm. In the end I didn't win her, but during that confused and passionate time I began dreaming of Rondua too. Those dreams changed my life. Those dreams and the earthquake. When I got to the Jameses' building I was cold inside and out. The death of a loved one robs you of some kind of vital inner heat. Or perhaps it blows out the pilot light that keeps your burners lit. Whatever, it took an hour of hard walking in the blue lead cold of a New York December for me to really hold in the palm of my mind the fact my best and oldest friend was dead. He had almost no cruelty in him. After twenty years I knew Philip Strayhorn was even better than I'd ever thought. He once said there are thirty-one million seconds in a year. So few of them are worth remembering. Those that are, thrill and hurt us without end. "Hello?" "Cullen? It's Weber. I'm downstairs. Do you mind a visitor?" "Oh, Christ, Weber, we just heard about Phil. Of course, come up." There was a giant holiday wreath on their door. The Jameses loved Christmas. For them, it started in November and went on well into January. They used their daughter, Mae, as an excuse for the festivity, but it was clear they liked it more than the kid. There were always oranges stuck with cinnamon cloves in every corner of every room, Christmas cards on the windowsills, a tree out of a 1940s movie like _The Bishop's Wife_ or _It's a Wonderful Life_. It was a good place. Slippers belonged there, and a friendly dog that followed you from room to room. Cullen opened the door and smiled. There are perfect faces. I've known and slept with some, but they were meant to remain placid and untouched, not shaken or distorted by the push and pull of great emotion or a long and full night in bed. They're tuxedos -- you wear them only on special occasions and then hang them up carefully in the closet afterward; a stain or wrinkle on them ruins everything. Cullen's is not a perfect face. She smiles too much, and many times it's obviously false: her safe and easy defense against a curious and persistent world. But she is beautiful and . . . whole. When I first met her she was full of love and confusion. Even then I wanted it all but knew I'd never have any. Without trying, she handcuffed herself to my heart. When she opened the door that sad day, instead of offering a hug, Cullen took off the silver bracelet she was wearing and handed it to me. When I was trying to woo her, I'd once asked her to do that. It was the only real physical intimacy we would ever share: her warmth, my only moments of owning it. Although she'd blushed when I first told her that, since then it had become her way of saying, I'm here, friend. I'll do what I can. "How're you doing, Weber?" "Not so good. Where's Mae?" "Inside with Danny. We haven't told her yet. You know how much she loved Phil." "Such a nice man." I started to cry. "You want to know something strange as hell? The last time Phil stayed with me here, on his way back from Yugoslavia? He slept on the couch and wore my pajamas. When he left the next morning, for some strange reason I took the pajamas and put them up to my face so I could smell them. Smell _him_. I don't know why I did that, Cullen. He was there. He's gone. He was everywhere." She put her arm around my shoulder and pulled me gently into the apartment. Almost as soon as the door closed behind us, a little black Cairn terrier that looked exactly like the dog in _The Wizard of Oz_ came trotting importantly from another room. Her muzzle was completely, comically white. She'd obviously just been rooting around in something thick and foamy. "Mama! Negnug ate all the whipped cream!" Mae James, age five, came running in, arms windmilling, tongue stuck out, big eyes delighted. "Weber!" She leapt up on me and wrapped her legs around mine. "Hiya, Mae! I came over to say hello." "Weber, you cannot imagine what just happened! Negnug ate all the whipped cream Mama made for the cake." Danny walked in with his great warm smile on, something I always liked to see. He stuck out his hand and we shook hard. After a moment, he put his other hand over mine. "I'm glad you came, Weber. We were worried about you. Let's have a drink." "But, Pop, what about the whipped cream? Aren't you going to spank Negnug? If I did that, you'd spank _me_! Now she's probably going to throw up all over the rug, like she did last time." A small fire burned in the grate in the living room. The dog was plopped down on its side nearby. It looked pleased and exhausted. Mae walked over and, hands on hips, shook her head disgustedly at the furry traitor. "Now our cake won't be half as good because of _you_, stinkpot." Cullen and I sat on the couch, Danny in a paisley-covered armchair nearby. "Mae, honey, would you do me a favor and go see if the tea is ready yet? Just tell me if the water's boiling, but don't touch anything, okay?" "Okay, Mom." When the child had left the room, Cullen spoke quickly. "Fool around with her a little, Weber, okay? Then she and Danny are going to the movies. You and I have to talk." "About Phil?" They looked at each other. Danny spoke. "About a couple of things." He reached down and pulled a box from beneath his chair. "We got a package from Phil in the mail a couple of days ago. We thought it was Christmas presents for Mae. But when we opened it, this box was inside along with two others. It's got your name on it." I sat forward. "It's from _Phil_?" Danny shrugged. "We didn't understand it either, except he knows we all spend Christmas together. Cullen thought maybe he wanted us to open our presents from him together." "The water's just beginning to boil, Mama," Mae called from the kitchen. "But I didn't touch anything. Not even the potholder." Cullen started to get up. "He was a sad man, Weber. Had absolutely _no_ patience with the slowness of the world. You know that better than anyone. He did _everything_ quickly and well, but that's always big trouble. Because then you're always disappointed no one else can follow suit. I loved Phil, but what happened doesn't surprise me." "That's a pretty hard-ass thing to say, Cullen." She was walking toward the kitchen but stopped next to me. "There are two things that don't leave you alone, Weber -- love and disappointment. You can't turn either of them off like a fan or twist the direction of their _flow_ a little to one side. "I'll tell you something. Once when he was in his cups, Phil called, said one sentence, then hung up: 'Life is comprised of fuck-ups and fuck-you's.'" "Sure, but at the same time I've never known anyone as full of life as he was. He was curious about everything." "True, but that doesn't keep your heart full." "What about Sasha?" "Mom, come on. It's boiling!" "They weren't living together anymore. Wait a minute. Let me get the tea and I'll be back." She touched my shoulder and moved on. "Do you want to look at the package?" Danny held it out to me. "What do you think, Dan?" "I saw Phil last week." "What? He was in town?" He nodded. "Asked me to come and meet him at the Pierre but didn't want you or Cullen to know." "Why not? Christ, what'd he say?" "Okay, everybody! Teatime!" Cullen walked in carrying a big tray full of tea and cakes. I looked fast, then at Danny again. He shook his head, said only, "Look in the package." "That one? The one from him?" "Yes. We'll talk about it after you see." "See what?" "The videos. You want some help with that, Cul?" There was a new log of applewood on the fire. The room had been silent for some time while Cullen and I looked into the flames. I shook my head. "He wanted to be liked and admired. He wanted to be left alone." "Who doesn't? You know what fame is, Weber. When it comes, it's like a crazy fan who won't leave you alone. And who can be damned scary! It gets obsessed with you in all the wrong ways. You know that old line about how the woman catches her man? 'He ran after me till I caught him?' Well, that's the same thing with fame. You want it, but once you've caught it, you realize it's been waiting for you all along . . . like some kind of monster from one of Phil's films. Like Bloodstone! Philip Strayhorn wanted to be a very famous man but stay private, live his own life. Good luck with _that_, as we all know. "Look, you guys got exactly what you wanted, what you dreamed about when you were at Harvard. Or so you've told me. But what did you two do with this fame you wanted so badly? _You_ threw it over to direct dying people in obscure plays. And Phil? He shot himself. They're not new stories, Mr. Gregston." "You're really showing your teeth today, huh?" She sighed. "No, it's just coming up through my brain like a slow fog that sweet Phil Strayhorn is really dead. That makes two of my friends who've died violently. I hate it. Neither of them deserved that." "Phil killed himself." She rubbed her mouth. "Do you believe that, Weber?" "Yes. He talked a lot about suicide." "Shit. I believe it too. I wish I didn't. You know what I can't stop thinking about? The lovely, exact way he peeled an orange." I opened my package from Phil before the elevator had reached the ground floor of the Jameses building. As Danny mentioned, three videotapes were inside but nothing else. I wanted a note or some kind of explanation, but there were only the three tapes, each 240 minutes long, labeled FIRST, SECOND, THIRD. In the taxi home I continued to stare at them. What was there? I remembered telling Cullen how I'd smelled his pajamas after he visited the last time. I felt for a moment like smelling the tapes too, each one of them, in case there were some kind of trace of him there. But that was silly and strange, unnecessary: I had 720 minutes of something Phil thought important enough to show me shortly before he died. It would have to do. The answers would have to be there. The view from one of my windows is directly into the apartment of a pretty woman who likes to walk around naked. I am convinced she drops her clothes as soon as she gets home, the way some people drop their umbrella in a stand by the door. She must have a high heating bill because summer and winter her pink skin and small pointy breasts dart and bounce through her rooms at all hours of the day. She always seems to be in a hurry. Running here and there, objects in her hands, pacing the floor while she talks on the telephone. Always busy and always bare-assed. I have often watched her, although neither she nor her nakedness excite me. What I love is being able to live in her everyday privacy. Not as the proverbial fly on the wall, because that image evokes seeing something forbidden. No, sometimes I feel like her husband or roommate: intimate as well as comfortable enough to watch her walk into the kitchen nude, enjoying her familiar sights without having to have them. Getting out of the taxi I looked up and saw her standing there, waiting four feet away. I had so much on my mind and was so surprised to see her close up that the first thing I said was, "Did you want this breast?" "Excuse me?" "Uh, this _cab_. Do you want the cab?" "Yes, please." Her look said she thought I had a few screws loose. I got out fast and held the door for her. She had on a nice woody-smelling perfume. I almost asked her name but held back. Did I really want to know who she was? Then she would only be a Leslie or a Jill. A name, a zip code number, a Diner's Club member. Slamming the door behind her, I smiled and was happy for the first time that day. I don't know why. It made going back into my empty apartment that much easier. After Phil saw my New York place for the first time, he laughed and said, "'A Room in Brooklyn,' huh?" Later that day he went out and bought me a copy of _The Notebooks of Louise Bogan_. In it, he'd marked this passage: Edward Hopper's 'A Room in Brooklyn.' A room my heart yearns to: uncurtained, hardly furnished, with a view over roofs. A clean bed, a bookcase, a kitchen, a calm mind, one or two half-empty rooms. All my life wants to achieve, and I have not yet achieved it. I have tried too hard for the wrong things. If I would concentrate on getting the spare room, I could have it almost at once. . . . I must have it. There are two pairs of pants in my closet, only five books allowed in the apartment at the same time. It sounds pretentious and pseudo-Zen, but living like this has been both painful and instructive for me. In my heart I am the perfect Yuppie because I like things. At one time I was a walking UN of prestigious labels and loved it. Italian leather jackets, English suits, cashmere sweaters from Hilditch and Key in Paris. Give me quality things and lots of them. If they have initials on them that's okay too -- I don't mind being a walking advertisement. One of the delights of being a movie director was you were expected to wear those things because of your position as a young creative lion out there. The spoils of the battle of Hollywood: Once you'd made a film that went into the black, they encouraged you to put on your first Patek Philippe wristwatch. You took your wallet out of a Miyake pocket, and the light you turned out at night was designed either by Richard Sapper or Harry Radcliffe. Long live excess! But after I moved to New York, I got rid of everything on purpose. Maybe because I liked it all so much, maybe because it was just simpler living in a room that was furnished only with air and white walls. I'd come back from a year in Europe where I'd lived in the kind of pensions where you peed in the toilet down the hall and if you wanted a shower you paid extra for it. At the beginning of the trip I carried a five-hundred-dollar knapsack from Hunting World. It was promptly stolen in the Cracow train station. The rest of my year abroad was done via a Cracow fiberboard suitcase, Polish suit and shoes, and a loden coat I bought at the Vienna flea market for four dollars. I'd read Thoreau's "Economy" and the Lives of some saints, but until the earthquake and the Europe trip, I didn't agree that life was better with less. Or that less was more. The lesson I did learn after Cracow was all those lovely expensive things in my missing bag were not indispensable and could be replaced. Too easily. How could they be so special if you could go right out and buy another, or ten, if you wanted? So when I got back to "Morka" (as Phil called it) I got rid of a lot. Moved into a New York life with my Polish suitcase, a copy of Cullen's just-published _Bones of the Moon_, and a real desire to see if there were any other windows to look out besides the ones I'd known for the last couple of years. But I kept two wonderful things from my "old days." I had to; it was hard to erase the movie director from inside me. Besides, I wasn't sure I wanted to. I kept a small video camera and the television video system I'd bought when loaded with residuals from my film _Sorrow and Son_. Without taking off my coat, I turned on the TV and video machine and plugged in the first tape. Squatting in front of the set like a catcher waiting for the first pitch of the game, I rubbed my cold hands together. The electric gray buzz and hiss cleared. Phil's face appeared. He was sitting on the couch in his living room petting Flea. The dog was lying half on him, attentively gazing into the camera. With all those impossible, hilarious wrinkles it looked like an alive hot fudge sundae. "Hello, my man. I'm sorry about what happened. You know I love you and will miss you most of all. You were the only brother I ever had. I love you more for that than anything else. You-you-you: I'm saying that too many times. "Danny and I met a few days ago. He'll be able to answer most questions you have. But please don't ask him anything until you've done two things: watched the rest of this tape all the way through and then called Sasha. Another thing -- don't be shocked by what you see. You have some very hard stuff to do in the next few months. I hope some of what you see here will help you get through it. "How do I know? I just do, Weber. That's part of the reason why I'm dead when you see this. Can't handle it. But I think you can. There are others who do too. "One last thing: You won't be able to watch the second or third tapes until you've been out to California. You'll see what I mean." The dog saw something in the camera's direction. Looking straight at me, it started to bark. Phil smiled and petted the dog back into silence. It looked at him and licked his hand. "I love you, Weber. Don't ever forget that, no matter what." He put up a hand and waved slowly: goodbye. The picture dimmed. A moment later everything began. My mother died in an airplane crash when I was nine. She flew off to visit her family in Hartford, Connecticut, but never returned. The airplane ran into a flock of starlings on takeoff and, like some silly cartoon, sucked the birds into the engines. Then it stalled. Then it crashed. Seventy-seven people died. They found Mama's handbag completely untouched (there were still traces of perfume on her handkerchief) but could only identify her carmelized body via dental charts. When they told me the news, the only thing I could think of was whether or not she had died quickly. In those days I was completely intrigued by airplane crashes, intrigued the way any preadolescent loves the macabre and dangerous from a distance. So long as it didn't bite or want to come into my living room, I would press my nose as close as I could up against its glass. But suddenly my wonderful mother was gone. The thing was loose in my life. Unfortunately I learned enough from reading articles and gaping at pictures of catastrophes to know it could have been any of a thousand possible hideous falls to death in those last few minutes, or seconds, of life. Had her end come fast? Slow? Painfully? They were questions that haunted me thirty years. Whenever I flew, I looked around the cabin at curtains that could burn, seats that might snap in half or send their jagged pieces through a body like medieval weapons. . . . Her body had burned and that was bad enough, but was the burning "all"? Was there more -- _worse_ -- I didn't know? Why did I _want_ to know? I cannot say, but Phil's video answered my questions. The first thing I heard was a muffled, phony voice speaking. "Good afternoon, ladies and gentlemen. This is your captain, Mike Maloy. Welcome aboard flight 651 to Washington. Our flying time will be approximately one hour and fifteen minutes." It took a moment to register that I was inside an airplane cabin, seeing it all through someone's eyes. A tracking shot. Several women wore pastel-colored Jackie Kennedy pillbox hats; men had short hair and read the _Hartford Courant_ dated March 1960. "I" looked down at my lap and finally knew in a furious flash of recognition who I was -- my mother. There was her red leather purse, the gray dress she wore only on special occasions. I'd sat on their bed the day she left and watched her carefully fold the dress in half and place it in her suitcase. "When'll you be back, Ma?" "Tuesday, dear. I'll be back before you're home from school." The pilot went on speaking. My eyes, Mama's eyes, looked out the oval window at the runway and the little yellow trucks scuttling back and forth on the ground below. The plane revved up and began to move backward. I saw through her eyes but had my own thoughts. Terrified and captivated, I knew exactly what was about to happen. Was this the way God saw things? Did he kick back in his leather Barcalounger upstairs and flick on the tube to someone's life in peril? The same way we sort of watch and get interested in the fate of soap opera characters? What should I have done, stopped the film? All my life I'd wanted to know what these last minutes had been like for her. The questions around her death had been the basis of much of my young confusion, not to mention the inspiration for my first film, _The Night Is Blond_. The man next to Mama offered her a copy of _Time_ magazine. Fidel Castro was on the cover. She thanked him but said reading on a plane made her ill. He tried to make conversation, but she only smiled and busied herself with the seat belt. I remembered how nervous she became when strange men spoke to her. She was good-looking but shy; my father had won her through gentle persistence. She said she'd first fallen in love with his patience. Her slim hands were so familiar. The gold engagement and wedding rings that slipped on and off her finger so easily whenever she washed her hands. The shiny scar above her thumb where she'd cut it deeply one day while making lunch. The plane turned hard left, then began to taxi. A stewardess came by offering a bowl of hard candy, Mama's favorite. We often joked that she had a mouth full of sweet tooths. This last time she took two -- an orange and a green. She looked out the window again at the nice weather. Some purple-gray clouds far off in the southern sky. In an hour and a half the plane was due to land in Washington. In an hour and a half firemen would still be trying to control the flames that licked up at the clear Hartford sky. She put a piece of candy in her mouth. The plane began to pick up speed. A blond stewardess hurried down the aisle toward the back of the plane, a nervous smile on her face. The plane goes faster and faster, the view out the window begins to blur. Then that fast, stomach-lurching lift off the earth and the hard pull _up_. A few seconds going up, up. . . . A loud fast _thunk-thunk-thunk. Thunkity-thunkity_. Everything stops. Just _stops_. The whole plane feels . . . it's falling backward, crazy angle up and all. Someone screams. More screams. Explosions. I choke. The candy's gone down my throat the wrong way. I can't breathe! Choking, trying to get it out. Explosion. Dead. The screen went dark, then lit again on Philip Strayhorn's face. "She was dead in half a second, Weber. One big blow she didn't even feel. I promise you that. I know it for sure. "There's more on this tape you must see, but not now. You can watch your mother's part again if you want, but there's nothing new to be learned. That's how it happened. "Call Sasha, okay?" The tape went black again, then turned into the electronic fuzz that's so annoying at the end of any video film. I reached over and fast-forwarded it a count of one hundred, then pressed PLAY again: fuzz. Rewound it to the beginning, replayed a little of what I'd already seen: Phil in his living room with the dog. FAST FORWARD: Mama being offered candy again. More FAST FORWARD: fuzz. I reached down for the other tapes (SECOND and THIRD) and tried them both: fuzz all the way. For no reason at all, I put the first one in again and ran it up to the end. "Call Sasha, okay?" But this time there was more. A little fuzz, then his face again. I jerked back like I'd been slapped. "This tape goes on and gives you more and more, Weber, as you can see. You've obviously tried the other two now and seen they don't work. But they _will_, later, when you're ready. Like this one. The more you discover, the more the tapes will tell you. Sort of like deciphering the hieroglyphics." He smiled. "The ride starts here, Scruno. I wish I could have gone on it with you, but I tried and it ate me. "Don't let that worry you, though. I'll still be around in here, in these tapes. I'll be able to help you in some ways. Remember Kenneth Patchen's line? 'It may be a long time till morning, but there is no law against talking in the dark.' Call Sasha, huh?"