YOU'RE ANOTHER
                     Damon Knight
Magazine of Fantasy and Science Fiction , June 1955

It was a warm spring Saturday, and Johnny Bornish spent the morning in Central Park. He drew sailors lying on the grass with their girls; he drew old men in straw hats, and Good Humor men pushing their carts. He got two quick studies of children at the toy-boat pond, and would have had another, a beauty, except that somebody's dammed big Dalmatian, romping, blundered into him and made him sit down hard in the water.

A bright-eyed old gentleman solemnly helped him arise. Johnny thought it over, then wrung out his wet pants in the men's rest room, put them hack on and spread himself like a starfish in the sun. He dried before his sketchbook did, so he took the bus back downtown, got off at 14th Street and went into Mayer's.

The only clerk in sight was showing an intricate folding easel to a tweedy woman who didn't seem to know which end was which. Johnny picked up the sketchbook he wanted from a pile on the table, and pottered around looking at clay figures, paper palettes and other traps for the amateur. He glimpsed some interesting textured papers displayed in the other aisle and tried to cross over to them, but misjudged his knobby-kneed turning circle, as usual, and brought down a cascade of little paint cans. Dancing for balance, somehow he managed to put one heel down at an unheard-of angle, buckle the lid of one of the cans and splash red enamel all over hell.

He paid for the paint, speechless, and got out. He had dropped the sketchbook somewhere, he discovered. Evidently God did not care for him to do any sketching today.

Also, he was leaving little red heel prints across the pavement. He wiped off his shoe as well as he could with some newspaper from the trashbasket at the corner, and walked down to the Automat for coffee.

The cashier scooped in his dollar and spread two rows of magical dimes on the marble counter, all rattling at once like angry metal insects. They were alive in Johnny's palm; one of them got away, but he lunged for it and caught it before it hit the floor.

Flushed with victory, he worked his way through the crowd to the coffee dispenser, put a china cup under the spigot and dropped his dime in the slot. Coffee streamed out, filled his cup and went on flowing.

Johnny watched it for a minute. Coffee went on pouring over the lip and handle of the cup, too hot to touch, splashing through the grilled metal and gurgling away somewhere below.

A white-haired man shouldered him aside, took a cup from the rack and calmly filled it at the spigot. Somebody else followed his example, and in a moment there was a crowd.

After all, it was his dime. Johnny got another cup and waited his turn. An angry man in a white jacket disappeared violently into the crowd, and Johnny heard him shouting something. A moment later the crowd began to disperse.

The jet had stopped. The man in the white jacket picked up Johnny's original cup, emptied it, set it down on a busboy's cart, and went away.

Evidently God did not care for him to drink any coffee, either. Johnny whistled a few reflective bars of "Dixie" and left, keeping a wary eye out for trouble.

At the curb a big pushcart was standing in the sunshine, flaming with banana yellows, apple reds. Johnny stopped himself. "Oh, no," he said, and turned himself sternly around, and started carefully down the avenue, hands in pockets, elbows at his sides. On a day like what this one was shaping up to be, he shuddered to think what he could do with a pushcart full of fruit.

How about a painting of that? Semi-abstract -- "Still Life in Motion." Flying tangerines, green bananas, dusty Concord grapes, stopped by the fast shutter of the artist's eye. By Cèzanne, out of Henry Moore. By heaven, it wasn't bad.

He could see it, big and vulgar, about a 36 by 30 -- (stretchers: he'd have to stop at Mayer's again, or on second thought somewhere else, for, stretchers) the colors grayed on a violet ground, but screaming at each other all the same like a gaggle of parakeets. Black outlines here and there, weaving a kind of cockeyed carpet pattern through it. No depth, no light-and-dark -- flat easter-egg colors, glowing as enigmatically as a Parrish cut up into jigsaw pieces. Frame it in oyster-white moulding -- wham! The Museum of Modern Art!

The bananas, he thought, would have to go around this way, distorted, curved like boomerangs up in the foreground. Make the old ladies from Oshkosh duck. That saturated buttery yellow, transmuted to a poisonous green . . . He put out a forefinger absently to stroke one of the nearest, feeling how the chalky smoothness curved up and around into the dry hard stem.

"How many, Mac?"

For an instant Johnny thought he had circled the block, back to the same pushcart: then he saw that this one had only bananas on it. He was at the corner of 11th Street; he had walked three blocks, blind and deaf.

"No bananas," he said hurriedly, backing away. There was a skriek in his ear. He turned; it was a glitter-eyed tweedy woman, brandishing an enormous handbag.

"Can't you watch where you're --"

"Sorry, ma'am," he said, desperately trying to keep his balance. He toppled off the curb, grabbing at the pushcart. Something slithery went out from under his foot. He was falling, sliding like a bowling ball, feet first toward the one upright shaft that supported the end of the pushcart . . .

The first thing that he noticed, as he sat there up to his chest in bananas, with the swearing huckster holding the cart by main force, was that an alert, white-haired old gentleman was in the front rank of the crowd, looking at him.

The same one who --?

And come to think of it, that tweedy woman --

Ridiculous.

All the same, something began to twitch in his memory. Ten confused minutes later he was kneeling asthmatically on the floor in front of his closet, hauling out stacks of unframed paintings, shoeboxes full of letters and squeezed paint tubes, a Scout ax (for kindling), old sweaters and mildewed magazines, until he found a battered suitcase.

In the suitcase, under untidy piles of sketches and watercolors, was a small cardboard portfolio. In the portfolio were two newspaper clippings.

One was from the Post , dated three years back: it showed Johnny, poised on one heel in a violent adagio pose, being whirled around by the stream of water from a hydrant some Third Avenue urchins had just opened. The other was two years older, from the Journal : in this one Johnny seemed to be walking dreamily up a wall -- actually, he had just slipped on an icy street in the upper 40's.

He blinked incredulously. In the background of the first picture there were half a dozen figures, mostly kids.

Among them was the tweedy woman.

In the background of the second, there was only one. It was the white-haired old man.



Thinking it over, Johnny discovered that he was scared. He had never actually enjoyed being the kind of buffoon who gets his shirttail caught in zippers, is trapped by elevators and revolving doors, and trips on pebbles; he had accepted it humbly as his portion, and in between catastrophes he'd had a lot of fun.

But suppose somebody was doing it to him?

A lot of it was not funny, look at it any way you like. There was the time the bus driver had closed the door on Johnny's foot and dragged him for three yards, bouncing on the pavement. He had got up with nothing worse than bruise -- but what if that passenger hadn't seen him in time?

He looked at the clippings again. There they were, the same faces -- the same clothing, even, except that the old man was wearing an overcoat. Even in the faded halftones, there was a predatory sparkle from his rimless eyeglasses; and the tweedy woman's sharp beak was as threatening as a hawk's.

Johnny felt a stifling sense of panic. He felt like a man waiting helplessly for the punchline of a long bad joke; or like a mouse being played with by a cat.

Something bad was going to happen next.

The door opened; somebody walked in. Johnny started, but it was only the Duke, brawny in a paint-smeared undershirt, with a limp cigarette in the corner of his mouth. The Duke had a rakish Errol Flynn mustache, blending furrily now into his day-old beard, and a pair of black, who-are-you-varlet brows. He was treacherous, clever, plausible, quarrelsome, ingenious, a great brawler and seducer of women -- in short, exactly like Cellini, except he had no talent.

" Hiding ?" said Duke, showing his big teeth.

Johnny became aware that, crouched in front of the closet that way, he looked a little as if he were about to dive into it and pull overcoats over his head. He got up stiffly, tried to put his hands in his pockets, and discovered he still had the clippings. Then it was too late. Duke took them gently, inspected them with a judicial eye, and stared gravely at Johnny. "Not flattering," he said. "Is that blood on your forehead?"

Johnny investigated; his fingers came away a little red, not much. "I fell down," he said uncomfortably.

"My boy," Duke told him, "you are troubled. Confide in your old uncle."

"I'm just -- Look, Duke, I'm busy. Did you want something?"

"Only to be your faithful counselor and guide," said Duke, pressing Johnny firmly into a chair. "Just lean back, loosen the sphincters and say the first thing that comes into your mind." He looked expectant.

"Ugh," said Johnny.

Duke nodded sagely. "A visceral reaction. Existentialist. You wish to rid yourself of yourself -- get away from it all. Tell me, when you walk down the street, do you feel the buildings are about to close on you? Are you being persecuted by little green men who come out of the woodwork? Do you feel an overpowering urge to leave town?"

"Yes," said Johnny truthfully.

Duke looked mildly surprised. "Well?" he asked, spreading his hands.

"Where would I go?"

"I recommend sunny New Jersey. All the towns have different names -- fascinating. Millions of them. Pick one at random. Hackensack, Perth Amboy, Passaic, Teaneck, Newark? No? You're quite right -- too suggestive. Let me see. Something farther north? Provincetown, Martha's Vineyard -- lovely this time of the year. Or Florida -- yes, I can really see you, Johnny, sitting on a rotten wharf in the sunshine, fishing with a bent pin for pompano. Peaceful, relaxed, carefree . . ."

Johnny's fingers stirred the change in his pocket. He didn't know what was in his wallet -- he never did -- but he was sure it wasn't enough. "Duke, have you seen Ted Edwards this week?" he asked hopefully.

"No. Why?"

"Oh. He owes me a little money, is all. He said he'd pay me today or tomorrow."

"If it's a question of money --" said the Duke after a moment.

Johnny looked at him incredulously.

Duke was pulling a greasy wallet out of his hip pocket. He paused with his thumb in it. "Do you really want to get out of town, Johnny?"

"Well, sure, but --"

"Johnny, what are friends for ? Really, I'm wounded. Will fifty help?"

He counted out the money and stuffed it into Johnny's paralyzed palm. "Don't say a word. Let me remember you just as you are." He made a frame of his hands and squinted through it. He sighed, then picked up the battered suitcase and went to work with great energy throwing things out of the dresser into it. "Shirts, socks, underwear. Necktie. Clean handkerchief. There you are." He closed the lid. He pumped Johnny's hand, pulling him toward the door. "Don't think it hasn't been great, because it hasn't. So on the ocean of life we pass and speak to one another. Only a look and a voice; then darkness and silence."

Johnny dug in his heels and stopped. "What's the matter?" Duke inquired.

"I just realized -- I can't go now. I'll go tonight I'll take the late train."

Duke arched an eyebrow. "But why wait, Johnny? When the sunne shineth, make hay. When the iron is hot, strike. The tide tarrieth for no man."

''They'll see me leave," said Johnny, embarrassed.

Duke frowned. "You mean the little green men actually are after you?" His features worked; he composed them with difficulty. "Well, this is -- Pardon me. A momentary aberration. But now don't you see, Johnny, you haven't got any time to lose. If they're following you, they must know where yon live. How do you know they won't come here?"

Johnny, flushing, could think of no adequate reply. He had wanted to get away under cover of darkness, but that would mean another five hours at least . . .

"Look here," said Duke suddenly, "I know the very thing. Biff Feldstein -- works at the Cherry Lane. Your own mother won't admit she knows you. Wait here."

He was back in fifteen minutes, with a bundle of old clothes and an object which turned out, on closer examination, to be a small brown beard.

Johnny puit it on unwillingly, using gunk from a tube Duke had brought along. Duke helped him into a castoff jacket, color indistinguishable, shiny with grease, and clapped a beret on his head. The result, to Johnny's horrified gaze, looked like an old-time Village phony or a peddler of French postcards. Duke inspected him judicially. "It's magnificent, but it isn't war," he said. "However, we can always plant vines. Allons! I am grass; I cover all!"



Walking toward Sixth at a brisk pace, a hand firmly on Johnny's elbow, Duke suddenly paused. "Ho!" he said. He sprang forward, bent, and picked something up.

Johnny stared at it glassily. It was a five-dollar bill.

Duke was calmly putting it away. "Does that happen to you often?" Johnny asked.

"Now and again," said Duke. "Merely a matter of keeping the eyes in focus."

"Luck," said Johnny faintly.

"Never think it," Duke told him. "Take the word of an older and wiser man. You make your own luck in this world. Think of Newton. Think of O'Dwyer. Hand stuck in the jam jar? You asked for it. Now the trouble with you --"

Johnny, who had heard this theory before, was no longer listening. Look, he thought, at all the different things that had had to happen so that Duke could pick up that fiver. Somebody had to lose it, to begin with -- say because be met a friend just as he was about to put the bill away, and stuffed it in his pocket instead so he could shake hands, and then forgot it, reached for his handkerchief -- All right. Then it just had to happen that everybody who passed this spot between then and now was looking the other way, or thinking about something else. And Duke, finally, had to glance down at iust the right moment. It was all extremely improbable, but it happened, somewhere, every day.

And also every day, somewhere, people were being hit by flowerpots knocked off tenth-story window ledges, and falling down manholes, and walking into stray bullets fired by law enforcement officers in pursuit of malefactors. Johnny shuddered.

"Oh-oh," said Duke suddenly. "Where's a cab? Ah -- Cabby!" He sprang forward to the curb, whistling and waving.

Looking around curiously, Johnny saw a clumsy figure hurrying toward them down the street. "There's Mary Finigan," he said, pointing her out.

"I know," said Duke irascibly. The cab was just pulling in toward them, the driver reaching back to open the door. "Now here we go, Johnny --"

"But I think she wants to talk to you," said Johnny. "Hadn't we --"

"No time now," said Duke, helping him in with a shove. "She's taken to running off at the mouth -- that's why I had to give her up. Get moving!" he said to the driver, and added to Johnny, "Among other things, that is . . . Here will be an old abusing of God's patience, and the King's English."

As they pulled away into traffic, Johnny had a last glimpse of the girl standing on the curb watching them. Her dark hair was straggling down off her forehead; she looked as if she had been crying.

Duke said comfortably, "Every man, as the saying is, can tame a shrew but he that hath her. Now there, John boy, you have just had an instructive object lesson. Was it luck that we got away from that draggle-tailed ear-bender? It was not . . ."

But, thought Johnny, it was. What if the cab hadn't come along at just the right time?

"-- in a nutshell, boy. Only reason you have bad luck, you go hunting for it."

"That isn't the reason," said Johnny.

He let Duke's hearty voice fade once more into a kind of primitive background music, like the muttering of the extras in a Tarzan picture when the Kalawumbas are about to feed the pretty girl to the lions. It had just dawned on him, with the dazzling glow of revelation, that the whole course of anybody's life was determined by improbable accidents. Here he stood, all five feet ten and a hundred thirty pounds of him -- a billion-to-one shot from the word go. (What were the chances against any given sperm's uniting with any given ovum? More than a billion to one -- unimaginable.) What if the apple hadn't fallen on Newton's head? What if O'Dwyer had never left Ireland? And what did free will have to do with the decision not to become, say, a Kurdish herdsman, if you happened to be born in Ohio?

. . . It meant, Johnny thought, that if you could control the random factors -- the way the dice fall in a bar in Sacramento, the temper of a rich uncle in Keokuk, the moisture content of the clouds over Sioux Falls at 3:03 CST, the shape of a pebble in a Wall Street newsboy's sock -- you could do anything. You could make an obscure painter named Johnny Bornish fall into the toy-boat pond in Central Park and get red paint all over his shoe and knock down a pushcart.

But why would you want to?



The airport waiting room was a little like a scene out of "Things to Come, except that the people were neither white-robed, leisurely nor cool.

Every place on every bench was taken. Duke found a couple of square feet of floor space behind a pillar and settled Johnny there, seated on his upended suitcase.

"Now you're all set. Got your ticket. Got your magazine. Okay." Duke made an abrupt menacing gesture in order to look at his wrist-watch.

"Got to run. Now remember, boy -- send me your address as soon as you get one, so I can forward your mail and so on. Oh: almost forgot." He scribbled on a piece of paper, handed it over. "Mere formality. Payable at any time. Sign here."

He had written, "I O U $50." Johnny signed, feeling a little more at home with Duke.

"Right. Oll korrect."

"Duke," said Johnny suddenly. "Mary's pregnant, isn't she?" His expression was thoughtful.

"It has been known to happen," said Duke good-humoredly.

"Why don't you give her a break?" Johnny asked with difficulty.

Duke was not offended. "How? Speak the truth to me, Johnny -- do you see me as a happy bridegroom? Well --" He pumped Johnny's hand. "The word must be spoken that bids you depart -- Though the effort to speak it should shatter my heart -- Though in silence, with something I pine -- Yet the lips that touch liquor must never touch mine!" With a grin that seemed to linger, like the Cheshire Cat's, he disappeared into the crowd.





II



Uncomfortably astride his suitcase, solitary among multitudes, Johnny found himself thinking in words harder and longer at a time than he was used to. The kind of thinking he did when he was painting, or had painted, or was about to paint was another process altogether, and there were days on end when he did nothing else. He had a talent, Johnny Bornish. A talent is sometimes defined as a gift of the gods, a thing that most people, who have not had one, confuse with a present under a Christmas tree.

It was not like that at all. It tortured and delighted him, and took up so much room in his skull that a lot of practical details couldn't get in. Without exaggeration, it obsessed him, and when occasionally, as now, its grip relaxed, Johnny had the comical expression of a man who has just waked up to find his pocket picked and a row of hotfoot scars around his shoes.

He was thinking about luck. It was all right to talk about everybody making his own, and to a certain extent he supposed it was true, but Duke was the kind of guy who found money on the street. Such a thing had happened to Johnny only once in his life, and then it wasn't legal tender, but a Japanese coin -- copper, heavy, about the size of a half-dollar, with a chrysanthemum symbol on one side and a character on the other. He thought of it as his lucky piece; he had found it on the street, his last year in high school, and here -- he took it out of his pocket -- it still was.

. . . Which, when you came to think of it, was odd. He was not superstitious about the coin, or especially fond of it. He called it a lucky piece for want of a better name, because the word "keepsake" had gone out of fashion; and in fact he believed that his luck in the last ten years had been lousy. The coin was the only thing he owned that was anywhere near that old. He had lost three wristwatches, numberless fountain pens, two hats, three or four cigarette lighters, and genuine U. S. nickels and dimes by the handful. But here was the Japanese coin.

Now, how could you figure a thing like that, unless it was luck . . . or interference?

Johnny sat up straighter. It was a foolish notion, probably born of the fact that he hadn't had any lunch; but he was in a mood to read sinister significance into almost anything.

He already knew that the old man and the tweedy woman had been interfering in his life for at least five years, probably longer. Somehow, they were responsible for the "accidents" that kept happening to him -- and there was a foolish and sinister notion for you, if you liked. Believing that, how could he help wondering about other odd things that had happened to him, no matter how small . . . like finding and keeping a Japanese coin?

With that kind of logic, you could prove anything. And yet, he couldn't rid himself of the idea.

Idly, he got up, holding the coin, and dropped it into a nearby waste can. He sat down on his suitcase again with a feeling of neurosis well quelled. If the coin somehow found its way back to him, he'd have evidence for thinking the worst of it; if it didn't, as of course it wouldn't, small loss.

"Excuse me," said a thinnish prim-faced little man in almost-clerical clothes. "I believe you dropped this. A Japanese coin. Quite nice."

Johnny found his tongue. "Uh, thank you. But I don't want it -- you keep it."

"Oh, no ," said the little man, and walked stiffly away.

Johnny stared after him, then at the coin. It was lumpishly solid, a dirty-looking brown, nicked and rounded at the edges. Ridiculous!

His mistake, no doubt, had been in being too obvious. He palmed the coin, trying to look nonchalant. After a while he lit a cigarette, dropped it, and as he fumbled for it, managed to shove the coin under the leg of the adjoining bench.

He had taken one puff on the retrieved cigarette when a large hulk in a gray suit, all muscles and narrowed eyes, knelt beside him and extracted the coin. The hulk looked at it carefully, front and back, weighed it in his palm, rang it on the floor, and finally handed it over to Johnny. "This yours?" he asked in a gravelly voice.

Johnny nodded. The hulk said nothing more, but watched grimly until Johnny put the coin away in his pocket. Then he got up, dusted off his knees, and went away into the crowd.

Johnny felt a cold lump gather at the pit of his stomach. The fact that he had seen this same routine in at least half a dozen bad movies gave him no comfort; he did not believe in the series of natural coincidences that made it impossible to get rid of the neatly wrapped garbage, or the incriminating nylon stocking, or whatever.

He stood up. It was already twenty minutes after his plane's scheduled departure time. He had to get rid of the thing. It was intolerable to suppose that he couldn't get rid of it. Of course he could get rid of it.

The low false roof of the baggage counter looked promising. He picked up his suitcase and worked his way toward it, and got there iust as the p. a. system burst forth with " Flight number mnglang for Buzzclickville, now loading at Gate Lumber Lide ." Under cover of this clamor, Johnny swiftly took the coin out of his pocket and tossed it out of sight on the roof.

Now what? Was somebody going to fetch a ladder, and climb up there after the coin, and come down and hand it to him?

Nothing at all happened, except that the voice on the p. a. emitted its thunderous mutter again, and this time Johnny caught the name of his destination, Jacksonville.

Feeling better, he stopped at the newsstand for cigarettes. He paid for them with a half dollar, which was promptly slapped back into his palm.

" Flight mumble sixteen for Jagznbull, now loading at Gate Number Nine ," said the p. a.

After a moment Johnny handed back the cigarettes, still staring at the Japanese coin that lay, infuriatingly solid, on his palm . . . He had had a fifty-cent piece in his pocket; it didn't seem to he there now; ergo, he had thrown it up on top of the baggage counter. A natura! mistake. Only, in ten years of carrying the coin around with him, he had never once mistaken it for a half-buck, or vice versa, until now.

" Flight number sixteen . . . "



The tweedy woman, Johnny realized with a slow chill crawling down his back, had been ahead of him in the art store, talking to a clerk. She couldn't have been following him -- on the bus, in a cab, or any other way; there wouldn't have been time. She had known where he was going, and when he was going to get there.

It was as if, he thought, while the coin seemed to turn fishily cold and smooth in his fingers, it was just as if the two of them, the tweedy woman and the old man, had planted a sort of beacon on him ten years ago, so that wherever and whenever he went, he was a belled cat. It was as if they might be looking in a kind of radarscope, when it pleased them, and seeing the track of his life like a twisted strand of copper wire coiling and turning . . .

But of course there was no escape, if that was true. His track went winding through the waiting room and onto a particular aircraft and down again, where that plane landed, and into a particular room and then a particular restaurant, so that a day from now, a month, a year, ten years from now, they could reach out and touch him wherever he might be.

There was no escape, because there was a peculiarity built into this brown Japanese coin, a combination of random events that added up to the mirth-provoking result that he simply couldn't lose it.

He looked around wildly, thinking Blowtorch. Monkey wrench. Sledge-hammer. But there wasn't anything. It was a great big phony Things-to-Comeish airport wildcat waiting room, without a tool in it anywhere.

A pretty girl came out from behind the counter to his right, swinging up the hinged section of counter and letting it down again behind her. Johnny stared after her stupidly, then at the way she had come out. His scalp twitched. He stepped to the counter, raised the hinged section.

A bald man a few feet away stopped talking to wave a telephone handset at Johnny. "No admittance here, sir! No admittance!"

Johnny put the Japanese coin down at an angle on the place that supported the end of the hinged section. He made sure it was the Japanese coin. He wedged it firmly.

The bald man dropped his telephone and came toward him, hand outstretched.

Johnny slammed the hinged section down as hard as he could. There was a dull bonk , and an odd feeling of tension; the lights seemed to blur. He turned and ran. Nobody followed him.

The plane was a two-englned relic that looked faintly Victorian from the outside; inside, it was a slanting dark cavern with an astonishing number of seats crammed into it. It smelled like a locker room. Johnny stumbled down the narrow aisle to what seemed to be the only remaining place, next to a large dark gentleman in an awning-striped tie.

He sat down, a little awkwardly. He had had a peculiar feeling ever since he had bashed the coin with the counter section, and the worst of it was that he couldn't pin it down. It was a physical something-wrong feeling, like an upset stomach or too little sleep or a fever coming on, but it wasn't exactly any of those things. He was hungry, but not that hungry. He thought the trouble might be with his eyes, but whenever he picked out anything as a test, it looked perfectly normal and he could see it fine. It was in his skin, perhaps? a kind of not-quite-prickling that . . . No, it wasn't his skin.

It was a little like being drunk, at the fraction of an instant when you realize how drunk you are and regret it . . . it was like that, but not very much. And it was partly like the foreboding, stronger and more oppressive. than before -- Something bad was going to happen .

The pilot and copilot walked up the aisle and disappeared into the forward compartment. The door was shut; the stewardess, back in the tail, was poring over the papers on her clipboard. After a while the starters whined and the engines came to life; Johnny, who had flown only once before, and on a scheduled airline at that, was startled to find what a devil of a racket they made. Then was another interminable wait, and then the plane was crawling forward, swinging its nose around, crawling a little faster, while an endless blank expanse of concrete slipped by -- lumbering along, then, like some huge, preposterous, and above all flightless bird -- and lifting incredibly, a few inches up, airborne, the runway falling back, tilted, dwindling until they were up, high above the mist on the water, steady as a hammock in the rasping monotone drone of the engines.

Something went flip at the corner of Johnny's vision. He turned his head.

Flop.

It was a little metallic disk that went flip up the carpet like a tiddlywink or a Mexican jumping bean, and paused for an instant while his jaw began to come loose at the hinge, and went flop . It lay on the carpet next to his seat, and went hop .

It landed on his knee, a little brown metallic disk with a chrysanthemum design, bent across the middle. He brushed at it. It hopped, and clung to his hand like a magnet to steel.



"Good heavensl' said an explosive voice in his ear.

Johnny had no attention to spare. He had taken hold of the coin with his other hand -- a horrid feeling, it clung clammily to his fingers, and pulled away from his palm with reluctance -- and now he was trying to scrape it off against the fabric of the seat. It was like trying to scrape off his own skin. He gave up and furiously began shaking his hand.

"Here, friend, don't do that!" The dark man in the next seat half rose, and there was a moment of confusion; Johnny heard a sharp click, and thought he saw something leap from the dark man's vest pocket. Then, for an instant, he had clinging to his fingers a brown Japanese coin and a pair of glittering pince-nez. And then the two had somehow twisted together in a nasty, writhing way that hurt his eyes to watch, and uncurled again -- no coin, no pince-nez, but an impossible little leather change purse.

Had the coin ever been a coin at all? Was the change purse a change purse?

"Now look what you've done! Ugh! " The dark man, his face contorted with passion, reached gingerly fingers toward the purse. "Don't move, friend. Let me --"

Johnny pulled away a trifle. "Who are you?"

"F.B.I.," said the dark man impatiently. He flapped a billfold at Johnny; there was some kind of official-looking shield inside. "Now you have torn it, my God! Hold that still -- just like that. Don't move." He pulled back his sleeves like a conjuror, and began to reach very cautiously for the little brown bit of leather that clung to Johnny's hand.

The thing twitched slightly in his fingers. The next moment, people all around them began getting up and crowding into the aisle, heading for the single washroom back in the tail of the plane.

Palpably, the plane tilted. Johnny heard the stewardess shrieking, "One at a time! One at a time! Take your seats, everyone -- you're making the airplane tail-heavy!"

"Steady, steady," moaned the dark man. "Hold it absolutely still!"

Johnny couldn't. His fingers twitched again; and abruptly all the passengers in the aisle were tumbling the other way, fighting to get away from the dangerous tail. The stewardess came helplessly after them, squalling futile orders.

"Am I doing that?" Johnny gasped, staring in horror at the thing in his palm.

"The gadget is. Hold it steady, friend --"

But his hand twitched again, and abruptly all the passengers were back in their seats, quietly sitting as if nothing had happened. Then a chorus of shrieks arose. Looking out the window, Johnny saw a terrifying sea of treetops just below, where nothing but empty air had been the moment before. As the plane nosed up sharply, his hand moved again --

And the shrieks grew louder. Up ahead loomed a blue-violet wall of mountain, topless, gigantic.

His fingers twitched still again: and once more the plane was droning peaceably along between earth and heaven. The passengers were bored or sleeping. There was no mountain, and no trees.

Sweat was beaded on the dark man's forehead. "Now . . ." he said, gritting his teeth and reaching again.

"Wait a minute," said Johnny, pulling away again. "Wait -- This is some kind of top secret thing, is it, that I'm not supposed to have?"

"Yes," said the dark man, agonized. "I tell you, friend, don't move it!"

The purse was slowly changing color, turning a watery violet around the edges.

"And you're from the F.B.I?" Johnny asked, staring hard at the dark man.

"Yes! Hold it steady --"

"No," said Johnny. His voice had a disposition to tremble, but Johnny held it firmly in check. '"You forgot about your ears," he said. "Or are they too hard to change?"

The dark man showed his teeth. "What are you talking about?"

"The ears ," JOhnny said, "and the jawbone. No two people have ears alike. And before, when you were the old man, your neck was too thick. It bothered me, only I was too busy to think about it." He swallowed hard. "I'm thinking about it now. You don't want me to move this thing?"

"Right, friend, right."

" Then tell me what this is all about. "

The dark man made placating gestures. "I can't do that, friend. I really can't. Look --"

The tiny weight shifted in Johnny's hand. " --out!" shouted the dark man.

Tiny flickerings gathered in the air around them. In the plane window, the clear blue of the sky abruptly vanished. Instead, Johnny saw a tumbling waste of gray cloud. Rain drummed against the window and the plane heeled suddenly as if a gust had caught it.

Scattered shrieks arose from up forward. Johnny swallowed a large lump, and his fingers twitched. The flickering came again.

The cloud and rain were gone; the sky was an innocent blue again. " Don't do that," said the dark man. "Listen, look: You want to how something? Watch me try to tell you." He moistened his lips and began, "When you have trouble --" but on the fourth word his throat seemed to tighten and lock. His lips went on moving, his eyes bulged with effort, but nothing came out.

After a moment he relaxed, breathing heavily. "You see?" he said.

"You can't talk," said Johnny. "About that. Literally."

"Right! Now, friend, if you'll just allow me --"

"Easy. Tell me the truth: is there any way you can get around this, whatever it is, this block or whatever?" He let his fingers twitch, deliberately, as he spoke. "Any gadget, or anything you can take?"

The dark man glanced nervously out the window, where blue sky had given way to purple twilight and a large sickle moon. "Yes, but --"

"There is? What?"

The man's throat tightened again as he tried to speak.

"Well, whatever it is, you'd better use it," said Johnny. He saw the dark man's face harden with resolution, and jerked his hand away just in time as the dark man grabbed --

III

There was a whirling moment, then the universe steadied. Johnny clutched at the seat with his free hand. The plane and all the passengers were gone. He and the dark man were sitting on a park bench in the sunshine. Two pigeons took alarm and flapped heavily away.

The dark man's face was twisted unhappily. "Now you have done it! Oh, what time is it, anyway?" He plucked two watches out of his vest and consulted them in turn. "Wednesday, friend, at the latest! Oh, oh, they'll --" His mouth worked soundlessly.

"Wednesday?" Johnny managed. He looked around. They were sitting in Union Square Park, the only ones there. There were plenty of people on the streets, all hurrying, most of them women. It looked like a Wednesday, all right.

He opened his mouth, and shut it again carefully. He looked down at the limp bit of leather and metal in his hand. Start from the beginning. What did he know?

The coin, which had evidently been some kind of telltale or beacon, had in some way joined itself, after Johnny had damaged it, to some other instrument of the dark man's -- apparently the gadget that enabled him to control probability, and move from one time to another, and small chores like that.

In their present fused state, the two gadgets were ungovernable -- dangerous, the dark man seemed to think -- and no good to anybody.

And that was absolutely all he knew.

He didn't know where the dark man and his companion had come from, what they were up to, anything that would be useful to know, and he wasn't getting any nearer finding out.

-- Except that there was some way of loosening the dark man's tongue. Drugs, which were out of the question -- liquor --

Well, he thought, sitting up a trifle straighter, there was no harm in trying, anyhow. It might not work, but it was the pleasantest thought he had had all afternoon.

He said, "Come on," and stood up carefully; but his motion must have been too abrupt, became the scene around them melted and ran down into the pavement, and they were standing, not in the park, but on the traffic island at Sheridan Square.

It looked to be a little after noon, and the papers on the stand at Johnny's elbow bore today's date.

He felt a little dizzy. Say it was about one o'clock: then he hadn't got out to the airport yet; he was on his way there now, with Duke, and if he could hop a fast cab, he might catch himself and tell himself not to go . . .

Johnny steadied his mind by a strenuous effort. He had, he told himself, one single, simple problem now in hand, and that was how to get to a bar. He took a careful step toward the edge of the island. The thing in his hand bobbled; the world reeled and steadied.

With the dark man beside him, Johnny was standing on the gallery of the Reptile Room of the Museum of Natural History. Down below, the poised shapes of various giant lizards looked extremely extinct and very dry.

Johnny felt the rising rudiments of a vast impatience. At this rate, it was clear enough, he would never get anywhere he wanted to go, because every step changed the rules. All right then; if Mahomet couldn't go to the mountain --

The dark man, who had been watching him, made a strangled sound of protest.

Johnny ignored him. He swung his hand sharply down. And up. And down.



The world swung around them like a pendulm, twisting and turning. Too far! They were on a street comer in Paris. They were in a dark place listening to the sound of machinery. They were in the middle of a sandstorm, choking, blinding --

They were sitting in a rowboat on a quiet river. The dark man was wearing flannels and a straw hat.

Johnny tried to move the thing in his hand more gently: it was as if it had a life of its own; he had to hold it back.

Zip!

They were seated on stools at a marble-topped counter. Johnny saw a banana split with a fly on it.

Zip!

A library, a huge low-ceilinged place that Johnny had never seen before.

Zip!

The lobby of the Art Theatre; a patron bumped into Johnny, slopping his demitasse.

Zip!

They were sitting opposite each other, the dark man and he, at a table in the rear of Dorrie's Bar. Dust motes sparkled in the late afternoon sun. There was a highball in front of each of them.

Gritting his teeth, Johnny held his hand perfectly upright while he lowered it, so slowly that it hardly seemed to move, until it touched the worn surface of the table, He sighed. "Drink up," he said.

With a wary eye on the thing in Johnny's hand, the dark man drank. Johnny signaled the bartender, who came over with a faintly puzzled expression. "How long you guys been here?"

"I was just going to ask you," said Johnny at random. "Two more."

The bartender retired and came back, looking hostile, with the drinks, after which he went down to the farthermost end of the bar, turned his back on them and polished glasses.

Johnny sipped his highball. "Drink up," he told the dark man. The dark man drank.

After the third swift highball, the dark man looked slightly wall-eyed. "How you feeling?" Johnny asked.

"Fine," said the dark man carefully. "Jus' fine." He dipped two fingers into his vest pocket, drew out a tiny flat pillbox and extracted from it an even tinier pill which he popped into his mouth and swallowed.

"What was that?" said Johnny suspiciously.

"Just a little pill."

Johnny looked closely at him. His eyes were clear and steady; he looked exactly as if he had not drunk any highballs at all. "Let me hear you say 'The Leith police dismisseth us,'" said Johnny.

The dark man said it.

"Can you say that when you're drunk?" Johnny demanded.

"Don't know, friend. I never tried."

Johnny sighed. Look at it any way you liked, the man had been high, at least, before he swallowed that one tiny pill. And now he was cold sober. After a moment, glowering, he pounded on his glass with a swizzle-stick until the bartender came and took his order for two more drinks. "Doubles," said Johnny as an afterthought. When they arrived, the dark man drank one down and began to look faintly glassy-eyed. He took out his pillbox.

Johnny leaned forward. "Who's that standing outside?" he whispered hoarsely.

The dark man swiveled around. "Where?"

"They ducked back," said Johnny. "Keep watching." He brought his free hand out of his trousers pocket, where it had been busy extracting the contents of a little bottle of antihistamine tablets he had been carrying around since February. They were six times the size of the dark man's pills, but they were the best he could do. He slid the pillbox out from under the dark man's fingers, swiftly emptied it onto his own lap, dumped the cold tablets into it and put it back.

"I don't see anybody, friend," said the dark man anxiously. "Was it a man or --" He picked out one of the bogus tablets, swallowed it, and looked surprised.

"Have another drink," said Johnny hopefully. The dark man, still looking surprised, swilled it down. His eyes closed slowly and opened again. They were definitely glassy. "How do you feel now?" Johnny asked.

"Dandy, thanks. Vad heter denna ort? " The dark man's face spread and collapsed astonishingly into a large loose, foolish smile.

It occurred to Johnny that be might have overdone it. "How was that again?" Swedish, it had sounded like, or some other Scandinavian language . . .

" Voss hot ir gezugt? " asked the dark man wonderingly. He batted his head with the heel of his hand several limes. " Favor de desconectar la radio. "

"The radio isn't --" began Johnny, but the dark man interrupted him. Springing up suddenly, he climbed onto the bench, spread his arms and began singing in a loud operatic baritone. The melody was that of the Toreador Song from "Carmen", but the dark man was singing his own words to it, over and over: " Dove è il gabinetto? "

The bartender was coming over with an unpleasant expression. "Cut that out!" Johnny whispered urgently. "You hear? Sit down, or I'll move this thing again!"

The dark man glanced at the object in Johnny's hand. "You don't scare me, bud. Go ahead and move it. Me cago en su highball." He began singing again.

Johnny fumbled three five-dollar bills out of his wallet -- all he had -- and shoved them at the bartender as he came up. The bartender went away.

"Well, why were you scared before, then?" Johnny asked, furiously.

"Simple," said the dark man. " Vänta ett ögenblick , it'll come back to me. Sure." He clapped a hand to his brow. " Herr Gott im Himmel! " he said, and sat down abruptly.

"Don't move it," he said. He was pale and sweat-beaded.

" Why not? "

"No control," whispered the dark man. "The instrument is tuned to you -- sooner or later you're going to meet yourself. Two bodies can't occupy the same spacetime, friend."

He shuddered. " Boom! "

Johnny's hand and wrist, already overtired, were showing a disposition to tremble. He had the hand propped against a bowl of pretzels, and that helped some, but not enough. Johnny was close to despair. The chief effect of the drinks seemed to have been to make the dark man babble in six or seven foreign tongues. The anti-drink pills were safely in his pocket; there was a fortune in those, no doubt, just as a by-product of this thing if he ever got out of it alive -- but that seemed doubtful.

All the same, he checked with a glare the dark man's tentative move toward the object in his hand. His voice shook. "Tell me now, or I'll wave this thing until something happens. I haven't got any more-patience! What are you after? What's it all about?"

" Un autre plat des pets de nonne, s'il vous plait, garçon ," murmured the dark man.

"And cut that out," said Johnny. "I mean it!" Intentionally or not, his hand slipped and he felt the table shudder under them.

Zip!

They were sitting at a narrow table in the Sixth Avenue Bickford's, full of the echoing clatter of inch-thick crockery.

"Well?" said Johnny, close to hysteria. The glasses on the table between them were full of milk, not whiskey. Now he was in for it. Unless he could break the dark man's nerve before be sobered up -- or unless, which was unlikely in the extreme, they happened to hit another bar --

"It's like this, friend," said the dark man. "I'm the last surviving remnant of a race of Lemurians, see, and I like to persecute people. I'm bitter, became you upstarts have taken over the world. You can't --"

"Who's the lady I saw you with?" Johnny asked sourly.

"Her? She's the last surviving remnant of the Atlanteans. We have a working agreement, but we hate each other even more than --"

Johnny's fingers were clammy with sweat around the limp leather that clung to them. He let his hand twitch, not too much.

Zip!

They were sifting facing each other on the hard cane seats of an almost empty subway train, rackety-clacking headlong down its dark tunnel like a consignment to hell. "Try again," said Johnny through his teeth.

"It's like this," said the dark man. "I'll tell you the truth. This whole universe isn't real, get me? It's just a figment of your imagination, but you got powers you don't know how to control, and we been trying to keep you confused, see, became otherwise --"

"Then you don't care if I do this!" said Johnny, and he made a fist around the leather purse and slammed it on his knee.

Zip!

A wind thundered in his ears, snatched the breath from his mouth. He could barely see the dark man, through a cloud of flying sleet, hunkered like himself on a ledge next to nowhere. "We're observers from the Galactic Union," the dark man shouted. "We're stationed here to keep an eye on you people on account of all them A-bomb explosions, because --"

"Or this!" Johnny howled, and jerked his fist again.

Zip!

They were sprawled on a freezing plain, staring at each other in the icy glitter of starlight. "I'll tell you!" said the dark man. "We're time travelers, and we got to make sure you never marry Piper Laurie, because --"

Gently, Johnny told himself.

Zip!

They were sliding side by side down the giant chute in the fun house at Jantzen's Beach in Portland, Oregon. "Listen!" said the dark man. "You're a mutant superman, see? Don't get sore -- we had to test you before we could lead you into your glorious heritage of --"

As Johnny started to get to his feet, the movement jarred the thing in his hand, and --

Zip!

They were standing on the observation platform on top of the Empire State. It was a cold, raw day. The dark man was shivering -- cold, or frightened enough to talk, or too frightened to stay drunk? His voice trembled: "Okay, this is it, friend. You aren't human -- you're an android, but such a good imitation, you don't even know it. But we're your inventors, see --"

Gently: it was the little jumps that were dangerous, Johnny reminded himself.

Zip!

They were in a revolving door, and zip! Johnny was on the staircase of his own rooming house, looking down at the dark man who was goggling up at him, trying to say something, and zip! they were standing beside a disordered banana cart while a cold chill ran up Johnny's spine, and --

"All right!" the dark man shouted. There was raw sincerity in his voice. "I'll tell you the truth, but please --"

Johnny's hand tilted in spite of himself.

Zip!

They were on the top deck of a Fifth Avenue bus parked at the curb, waiting for a load. Johnny lowered his hand with infinite care to the shiny rail top of the seat ahead. "Tell," he said.

The dark man swallowed. "Give me a chance," he said in an undertone. "I can't tell you -- if I do, they'll break me, I'll never get a post again --"

"Last chance," said Johnny, looking straight ahead. " One . . . Two . . . "

"It's a livie," the dark man said, pronouncing the first 'i' long. His voice was resigned and dull.

"A what?"

"Livie. Like movies. You know. You're an actor."

"What is this now?" said Johnny uneasily. "I'm a painter. What do you mean, I'm an ac --'

"You're an actor, playing a painter! " said the dark man. "You actors! Dumb cows! You're an actor! Understand? It's a livie ."

"What is the livie about?" Johnny asked carefully.

"It's a musical tragedy. All about poor people in the slums."

"I don't live in the slums," said Johnny indignantly.

" In the slums . You want to tell me, or should I tell you? It's a big dramatic show. You're the comic relief . Later on you die ." The dark man stopped short, and looked as if he wished he had stopped shorter. "A detail," he said. "Not important. We'll fix it up, next script conference." He put his hands to his temples suddenly. "Oh, why was I decanted?" he muttered. "Glorm will split me up the middle. He'll pulverize me. He'll shove me back into the --"

"You're serious?" said Johnny. His voice cracked. "What is this, I die? I die how?" He twitched uncontrollably.

Zip!

The Fifth Avenue bus was gone. They were sitting in the second row of a movie theater. The house lights had just gone up; the audience was shuffling out. Johnny seized the dark man by the shirt-front.

"I forget," said the dark man sullenly. "You fall off something, I think. Right before the end of the livie, when the hero gets to bed with the girl. You want to know who's the hero? Somebody you know. Duke --"

"Fall off What?" said Johnny, tightening his grip.

"Off a building. Into a trash can. Half."

"Comic relief?" said Johnny with an effort.

"Sure. Pratfalls. You'll steal the livie! The lookers'll have heart attacks laughing!"



The sounds of the departing audience abruptly stopped. The. walls and ceiling flickered alarmingly; when they steadied, Johnny saw with total bewilderment that they were in a different room altogether. It was nowhere he had ever been before -- nowhere, be realized abruptly, with his heart racing, that he ever could have been before.

Out across the great silvery bowl, under a cloud-high ceiling, men were floating in the air like gnats, some drifting, some moving quickly around a bulbous metal shape that hung over the center of the huge room. Down below, twenty feet lower than the balcony on which they sat, there was a little puff of light and exploding shape -- a brilliant unfolding that lasted only an instant, leaving a crazy memory of moving trees and buildings. After a moment, it happened again.

Johnny was aware that the dark man, beside him, had stiffened and somehow shrunk into himself.

He turned. Behind them, in the eerie stillness, a silvery man came striding through a doorway.

" Glorm ," said the dark man, gasping, " ne estis mia kulpo. Li --"

Glorm said, " Fermu vian truon. " He was slender and sinewy, dressed in something that looked like tinfoil. He had bulging eyes under a broad shelf of brow. He turned them on Johnny. "Now you vill give me d'in stru ment," he said.

Johnny found his breath. The bit of leather in his hand, he discovered, was now as rigid as if it were part of an invisible pillar in the air; but he tightened his grip on it, anyhow. "Why should I give it to you?" he demanded.

Glorm gestured impatiently. "Vait.' He turned to look out over the enormous sunken bowl, and his voice suddenly echoed everywhere, somehow a hundred times magnified: " Gi spinu! "

Again came that flowering of color and movement under the hanging bulge of metal: but this time it sprang into full life, and didn't collapse again.

Fascinated, Johnny stared down over the balcony rim. The floor of the bowl was gone now, buried by a glittering marble street. On either side were white buildings, all porticos and pillars, and down at the end loomed something ihat looked like the Parthenon, only as big as the main UN building in New York.

The street was aboil with people, dwarfed by distance. They scattered as a four-horse chariot came hurtling past, then flowed together again. Johnny could hear them muttering angrily, like so many bees. There was a curious acrid scent in the air.

Puzzled, he glanced at Glorm and the dark man. "What's that?" he asked, pointing.

Glorm made a gesture. "Rome," said the dark man, shaking as if with a chill, "They're making a spectacle, back in 44 B.C. This here's the scene where Julius Caesar burns the place down because they won't make him Emperor."

Sure enough, the acrid scent was stronger; down below, a thin veil of gray-black smoke was beginning to arise . . .

"But he didn't," Johnny protested, stung. "That isn't even Rome -- the Parthenon's in Athens."

"It used to be," said the dark man. His teeth were chattering. "We changed it. The last outfit that made livies there, they were okay on the little scenes, but they didn't understand spectacle. Glorm --" he cast a furtive glance at the silver man, and raised his voice slightly -- "he understands spectacle."

"Let me get this straight now," said Johnny with a thick tongue. "You went to all the trouble of building that phony set, with that crazy Parthenon and all, when you could just go back in time and shoot the real thing?"

" Bona! " shouted Glorm's amplified voice. " Gi estu presata! " The scene down below whirled in upon itself and winked out

Glorm turned impatiently to Johnny. "Now," he said. "You not un der stand. Dat vich you see dere is vat you call d'real ding. Ve not built set -- built not set -- not set -- Kiel oni gi diras? "

"'We didn't build no set,'" said the dark man.

" Putra lingvo! Ve din build no set. Ve made dat Romans build it. Dey din build no set -- dey build Rome, di ffer ent. Un der stand? No- body din build no set! Real Romel Real fire! Real dead! Real his tory !"

Johnny gaped at him. "You mean -- you're changing history, just to make movies?"

"Livies," the dark man muttered."

"Livies, then. You must all be loopies. Where does that leave the people up in the future? Look -- where are we now? What time?"

"Your calendar, uh, 4400-something. About twenty-five hundred years from your time."

"Twenty-five hundred -- Well, what does it do to you, when you change the Romans all around?"

"Noddin'," said Glorm emphatically.

"Noddin'?" said Johnny, obtusely.

"Noddin' at all. Vat happens to dog ven you cut off his modder's tail?"

Johnny thought about it. "Noddin'."

" Korekti. You dink it is big job?"

Johnny nodded.

"It is big job. But ve do it tventy, forty times every year. You know how many people live on d'planet now?" Without pausing, he answered himself. "Tirty billion. You know how many go to livies? Half. Fifteen billion. Seven times more people dan live on d'planet in your time. Old, young. Stupid, smart. Livies got to en ter tain dem all. Not like your Hollyvood. Dat vas not art not spec tac le. Ven d'people tink, deep down --" he tapped his head --" someting is true, den I make it true, and it is true! Dat is art! Dat is spec tac le!"

"You haven't changed New York much, anyway," said Johnny in self-defense.

Glorm's bulging eyes grew bulgier. "Not change!" He snorted, turned. His amplified voice rang out again: " Donu al mi flugantan kvieton de Nov-Jorko natura! "

There was a stirring of floating figures out around the hanging bulge of metal. Glorm cracked his knuckles impaliently. After a long moment the floor of the bowl blossomed again.

Johnny caught his breath.

The illusion was so perfect that the floor seemed to have dropped away: a thousand feet down, Manhattan Island lay spread in the morning sunlight; he could see ships at anchor in the harbor, and the clear glints of the Hudson and the East River running up northward into the mists over the Bronx.

The first thing he noticed was that the chaotic checkerboard of low buildings spread over the whole island: the cluster of skyscrapers at the southern tip, and the scattering at midtown, were missing.

"Guess vat year," said Glorm's voice.

He frowned. "About 1900? But that couldn't be right, he thought uneasily -- there were too many bridges: more, even, than in his own time.

Glorm laughed heartily. "Dat vich you see is Nov-York, 1956 - -before ve change it. You dink you in vent sky scrap ers? Oh, no. Me in vent it."

"For 'Wage-Slaves ofBroadway,'" said the dark man reverently. 'That was his first livie. What a spectacle!"

"Now you un der stand?" Glorm asked patronizingly. "Long time I vanted to tell dis to actor, see his face. Good -- you understand now." His face was shining. "You are actor -- I am producer, director. Producer, director is everyting. Actor is dirt! So you vill give me d'in stru ment."

"Won't," said Johnny weakly.

"You vill," Glorm said. "In a minute you have to let go."

Johnny discovered with shock that his hand was growing numb. So this was what they had all been stalling for, all this time. And now they'd got it. He was about to let go; he could feel it. So --

"Listen!" he said desperately. "What about the people in the future? -- I mean your future. Do they make livies, too? If they do, are you an actor to them?"

Glorm's face tautened with fury. "Kracajo!" he said. "Vait. Vait un til --" He stared at the thing in Johnny's hand, and his fingers clenched.

Johnny's grip loosened. He was going to let go, and then what? Back to his own time, and more pratfalls, leading inexorably to --

His whole arm was tired. He was going to have to let go. . . . And there was nothing he could do about it. That endless chain of tinkerers, Glorms standing on each other's shoulders all the way up into the unguessable future -- that was too big to change. It was, he supposed, no more frightening or terrible than other kinds of macrocosmic tyranny the human mind had imagined; it would be possible to live with it, if only his part weren't so unpleasant . . .

His hand dropped.

Smiling, Glorm reached out to the suspended bit of leather. His fingers did something to it that Johnny couldn't follow, and abruptly it sagged into his palm.

It shuddered and flickered there for a moment like a top runnlng down. All at once it split into a brown coin and a pair of pince-nez. The flickering came again -- a blue of bright shapes: fountain pen, notebook, watch, cigarette lighter -- then both objects came to rest, tiny and metallic and dead.

Glorm put them into a fold of his clothing.

" Bona ," he said indifferently over his shoulder. " Resendu tion al Nov-Jorkon ."

Desperation limbered Johny's tongue. He started talking before he even knew what he was going to say. "What if I don't stay in New York?"

Glorm paused, looking annoyed. " Kio? "

"You've got your gadget back," said Johnny, as the idea took shape in his head. "All right, but what are you going to do if I decide to move to Chicago, or someplace? Or get myself arrested and sent to jail? I mean, you can shuffle the probabilities around -- but if I try hard enough, I can put myself where it's impossible to have what you want to have happen, happen." He took a deep breath. "See what I mean?"

" Plejmalpuro ," said Glorm. From his expression, he saw.

"Listen," Johnny said. "Let me get the picture. This Duke you say is the hero -- that's the Duke I know?" He got a nod from Glorm. "And that was part of the script, when he helped me get out of town?"

"Dress rehearsal," said the dark man. "You fall in a swamp in Florida -- come up all over mud and leeches. A real boff."

Johnny shuddered, and turned his mind resolutely away from leeches and falls from high buildings . . . "What I want to know is, what was Duke's angle? Why did he think he wanted to get me out of town?"

They told him. The answer was brutally simple, and Johnny had been half afraid that he knew it already.

He waited until his nails unclenched from his palms, and he felt able to talk sensibly again. And even then, he found he had nothing to say. How could you talk to people who would do a thing like that and call it art, or entertainment? It was logical, he supposed, that a culture whose taste demanded Glorm's ruthless spec tac les should have such a concept of a "hero." It was also terrifying.

His time was running out again. But the answer to that one occurred to him, too.

If Duke were here, what would he say?

"Okay, look," Johnny said rapidly, "I'm just spitballing, you understand, talking off the top of my head --"

Glorm and the dark man leaned forward with interested, wary expressions.

"-- but here's how I see it. Instead of this clown type for your comedy relief, we have this suave man-of-the-world type. It's a switch. A really great, uh, producer-director could put it over. I can really see it. Take for instance -- here, show me where it says in the script . . ."



Johnny materialized on the quiet side street a few steps from his door. He felt heavy and tired. The sun was still high over the tops of the old buildings; it was about 2:30 -- an hour and a half after Duke had left him at the airport.

He leaned against a railing and waited. Sure enough, here came Mary Finigan across the street, her hair uncombed, dark circles under her eyes.

"Go home, Mary," he said.

She was startled. "What's the matter, isn't he there?" I mean, Duke, called me -- he said he was at your place --"

"He's got an ax," said Johnny. "I'm telling you the truth. He was going to kill you in my apartment, with my Scout ax that I use for kindling, with my fingerprints on it."

When she was gone, Johnny went on around the corner and into the foyer. Duke was there with his hand in Johnny's mailbox. He turned around and swore, and his hand twitched a long fat envelope out of the box. "What the devil are you doing here, Johnny?"

"I decided not to go."

Duke leaned against the wall, grinning. "Well, every coming together again gives a foretaste of the resurrection. Whew!" He glanced at the envelope he was holding as if he had just noticed it. "Now I wonder what this might be."

"You know what it is," said Johnny without rancor. "Ted Edwards' fifty bucks that he owed me. That was what gave you the idea, when he told you he'd put it in the mail. Then this Mary business came up, and I suppose it just seemed to you like a God-given opportunity."

Duke's eyes were narrow and hard. "You know about that, too, do you? What were you planning to do about it, would you tell an old friend that?"

"Nothing," said Johnny. "Just give me my I O U, and we'll call it square."

Duke fished in his pocket for the folded scrap of paper and handed it over. He peered into Johnny's eyes, looking baffled. "Well, well. You're sure, are you?"

Johnny nodded and turned to go up the stairs.

"I believe you are," said Duke. He was shaking his head, arms akimbo. "Johnny, my boy, you're a character."

Johnny looked down at him for a moment. "You're another," he said.