I closed my eyes tight and swung around in the seat. When I opened them, I willed myself to see the mileage meter, the pale road dust on the black plastic dashboard, the overflowing ashtray.
“Amphetamine psychosis,” I said. I opened my eyes. The dash was still there, the dust, the crushed filter tips. Very carefully, without moving my head, I turned the headlights on.
And saw them.
They were blond. They were standing beside their car, an aluminum avocado with a central shark-fin rudder jutting up from its spine and smooth black tires like a child’s toy. He had his arm around her waist and was gesturing toward the city. They were both in white: loose clothing, bare legs, spotless white sun shoes. Neither of them seemed aware of the beams of my headlights. He was saying something wise and strong, and she was nodding, and suddenly I was frightened, frightened in an entirely different way. Sanity had ceased to be an issue; I knew, somehow, that the city behind me was Tucson – a dream Tucson thrown up out of the collective yearning of an era. That it was real, entirely real. But the couple in front of me lived in it, and they frightened me.
They were the children of Dialta Downes’s ’80-that-wasn’t; they were Heirs to the Dream. They were white, blond, and they probably had blue eyes. They were American. Dialta had said that the Future had come to America first, but had finally passed it by. But not here, in the heart of the Dream. Here, we’d gone on and on, in a dream logic that knew nothing of pollution, the finite bounds of fossil fuel, or foreign wars it was possible to lose. They were smug, happy, and utterly content with themselves and their world. And in the Dream, it was their world.
Behind me, the illuminated city: Searchlights swept the sky for the sheer joy of it. I imagined them thronging the plazas of white marble, orderly and alert, their bright eyes shining with enthusiasm for their floodlit avenues and silver cars.
It had all the sinister fruitiness of Hitler Youth propaganda.
I put the car in gear and drove forward slowly, until the bumper was within three feet of them. They still hadn’t seen me. I rolled the window down and listened to what the man was saying. His words were bright and hollow as the pitch in some chamber of commerce brochure, and I knew that he believed in them absolutely.
“John,” I heard the woman say, “we’ve forgotten to take our food pills.” She clicked two bright wafers from a thing on her belt and passed one to him. I backed onto the highway and headed for Los Angeles, wincing and shaking my head.
I phoned Kihn from a gas station. A new one, in bad Spanish Modern. He was back from his expedition and didn’t seem to mind the call.
“Yeah, that is a weird one. Did you try to get any pictures? Not that they ever come out, but it adds an interesting frisson to your story, not having the pictures turn out…”
But what should I do?
“Watch lots of television, particularly game shows and soaps. Go to porn movies. Ever see Nazi Love Motel? They’ve got it on cable, here. Really awful. Just what you need.”
What was he talking about?
“Quit yelling and listen to me. I’m letting you in on a trade secret: really bad media can exorcise your semiotic ghosts. If it keeps the saucer people off my back, it can keep these Art Deco futuroids off yours. Try it. What have you got to lose?”
Then he begged off, pleading an early-morning date with the Elect.
“The who?”
“These oldsters from Vegas; the ones with the microwaves.”
I considered putting a collect call through to London, getting Cohen at Barris-Watford and telling him his photographer was checked out for a protracted season in the Twilight Zone. In the end, I let a machine mix me a really impossible cup of black coffee and climbed back into the Toyota for the haul to Los Angeles.
Los Angeles was a bad idea, and I spent two weeks there. It was prime Downes country; too much of the Dream there, and too many fragments of the Dream waiting to snare me. I nearly wrecked the car on a stretch of overpass near Disneyland when the road fanned out like an origami trick and left me swerving through a dozen minilanes of whizzing chrome teardrops with shark fins. Even worse, Hollywood was full of people who looked too much like the couple I’d seen in Arizona. I hired an Italian director who was making ends meet doing darkroom work and installing patio decks around swimming pools until his ship came in; he made prints of all the negatives I’d accumulated on the Downes job. I didn’t want to look at the stuff myself. It didn’t seem to bother Leonardo, though, and when he was finished I checked the prints, riffling through them like a deck of cards, sealed them up, and sent them air freight to London. Then I took a taxi to a theater that was showing Nazi Love Motel and kept my eyes shut all the way.
Cohen’s congratulatory wire was forwarded to me in San Francisco a week later. Dialta had loved the pictures. He admired the way I’d “really gotten into it,” and looked forward to working with me again. That afternoon I spotted a flying wing over Castro Street, but there was something tenuous about it, as if it were only half there. I rushed to the nearest newsstand and gathered up as much as I could find on the petroleum crisis and the nuclear energy hazard. I’d just decided to buy a plane ticket for New York.
“Hell of a world we live in, huh?” The proprietor was a thin black man with bad teeth and an obvious wig. I nodded, fishing in my jeans for change, anxious to find a park bench where I could submerge myself in hard evidence of the human near-dystopia we live in. “But it could be worse, huh?”
“That’s right,” I said, “or even worse, it could be perfect.”
He watched me as I headed down the street with my little bundle of condensed catastrophe.
THE THREADS OF TIME
C.J. Cherryh
C.J. Cherryh is an American science fiction and fantasy writer. She used her initials early in her writing career in order to disguise the fact that she was a female science fiction writer. She is the recipient of the Hugo Award and the Locus Award, among others, and has had an asteroid named after her. This story was first published in 1978 in the Darkover Grand Council Program Book IV and later in The Collected Short Fiction of C. J. Cherryh.
It was possible that the Gates were killing the qhal. They were everywhere, on every world, had been a fact of life for five thousand years, and linked the whole net of qhalur civilization into one present-tense coherency.
They had not, to be sure, invented the Gates. Chance gave them that gift … on a dead world of their own sun. One Gate stood – made by unknown hands.
And the qhal made others, imitating what they found. The Gates were instantaneous transfer, not alone from place to place, but, because of the motion of worlds and suns and the traveling galaxies – involving time.
There was an end of time. Ah, qhal could venture anything. If one supposed, if one believed, if one were very sure, one could step through a Gate to a Gate that would/might exist on some other distant world.