Any man who deals in murder, must have very incorrect ways of thinking, and truly inaccurate principles.
--Thomas de Quincey in Murder Considered as One of the Fine Arts For that matter we took off fast with the plane swinging to beat hell. Alice and me was in the two kneeling seats and we hugged them tight, but Pop was loose and sort of rattled around the cabin for a while--and serve him right!
On one of the swings I caught a glimpse of the seven dented gas tanks, looking like dull crescents from this angle through the orange haze and getting rapidly smaller as they hazed out.
After a while the plane levelled off and quit swinging, and a while after that my image of the cabin quit swinging too. Once again I just managed to stave off the vomits, this time the vomits from natural causes. Alice looked very pale around the gills and kept her face buried in the chinrest of her chair.
Pop ended up right in our faces, sort of spread-eagled against the instrument panel. In getting himself off it he must have braced his hands against half the buttons at one time or another and I noticed that none of them went down a fraction. They were locked. It had probably happened automatically when the Atla-Hi button got pushed.
I'd have stopped him messing around in that apish way, but with the ultra-queasy state of my stomach I lacked all ambition and was happy just not to be smelling him so close.
I still wasn't taking too great an interest in things as I idly watched the old geezer rummaging around the cabin for something that got misplaced in the shake-up. Eventually he found it--a small almond-shaped can. He opened it. Sure enough it turned out to have almonds in it. He fitted himself in the back seat and munched them one at a time. Ish!
"Nothing like a few nuts to top off with," he said cheerfully.
I could have cut his throat even more cheerfully, but the damage had been done and you think twice before you kill a person in close quarters when you aren't absolutely sure you'll be able to dispose of the body. How did I know I'd be able to open the door? I remember philosophizing that Pop ought at least to have broke an arm so he'd be as badly off as Alice and me (though for that matter my right arm was fully recovered now) but he was all in one piece. There's no justice in events, that's for sure.
The plane ploughed along silently through the orange soup, though there was really no way to tell it was moving now--until a skewy spindle shape loomed up ahead and shot back over the viewport. I think it was a vulture. I don't know how vultures manage to operate in the haze, which ought to cancel their keen eyesight, but they do. It shot past fast.
Alice lifted her face out of the sponge stuff and began to study the buttons again. I heaved myself up and around a little and said, "Pop, Alice and me are going to try to work out how this plane navigates. This time we don't want no interference." I didn't say a word more about what he'd done. It never does to hash over stupidities.
"That's perfectly fine, go right ahead," he told me. "I feel calm as a kitten now we're going somewheres. That's all that ever matters with me." He chuckled a bit and added, "You got to admit I gave you and Alice something to work with," but then he had the sense to shut up tight.
We weren't so chary of pushing buttons this time, but ten minutes or so convinced us that you couldn't push any of the buttons any more, they were all locked down--all locked except for maybe one, which we didn't try at first for a special reason.
We looked for other controls--sticks, levers, pedals, finger-holes and the like. There weren't any. Alice went back and tried the buttons on Pop's minor console. They were locked too. Pop looked interested but didn't say a word.
We realized in a general way what had happened, of course. Pushing the Atla-Hi button had set us on some kind of irreversible automatic. I couldn't imagine the why of gimmicking a plane's controls like that, unless maybe to keep loose children or prisoners from being able to mess things up while the pilot took a snooze, but there were a lot of whys to this plane that didn't seem to have any standard answers.
The business of taking off on irreversible automatic had happened so neatly that I naturally wondered whether Pop might not know more about navigating this plane than he let on, a whole lot more in fact, and the seemingly idiotic petulance of his pushing all the buttons have been a shrewd cover for pushing the Atla-Hi button. But if Pop had been acting he'd been acting beautifully, with a serene disregard for the chances of breaking his own neck. I decided this was a possibility I could think about later and maybe act on then, after Alice and me had worked through the more obvious stuff.
The reason we hadn't tried the one button yet was that it showed a green nimbus, just like the Atla-Hi button had had a violet nimbus. Now there was no green on either of the screens except for the tiny green star that I had figured stood for the plane and it didn't make sense to go where we already were. And if it meant some other place, some place not shown on the screens, you bet we weren't going to be too quick about deciding to go there. It might not be on Earth.
Alice expressed it by saying, "My namesake was always a little too quick at responding to those DRINK ME cues."
I suppose she thought she was being cryptic, but I fooled her. "Alice in Wonderland?" I asked. She nodded, and gave me a little smile, not at all like one of the EAT ME smiles she'd given me last evening.
It is funny how crazily happy a little touch of the intellectual past like that can make you feel--and how horribly uncomfortable a moment later.
We both started to study the North America screen again and almost at once we realized that it had changed in one small particular. The green star had twinned. Where there had been one point of green light there were now two, very close together like the double star in the handle of the Dipper. We watched it for a while. The distance between the two stars grew perceptibly greater. We watched it for a while longer, considerably longer. It became clear that the position of the more westerly star on the screen was fixed, while the more easterly star was moving east toward Atla-Hi with about the speed of the tip of the minute hand on a wrist watch (two inches an hour, say). The pattern began to make sense.
I figured it this way: the moving star must stand for the plane, the other green dot must stand for where the plane had just been. For some reason the spot on the freeway by the old cracking plant was recognized as a marked locality by the screen. Why I don't know. It reminded me of the old "X Marks the Spot" of newspaper murders, but that would be getting very fancy. Anyway the spot we'd just taken off from was so marked and in that case the button with the green nimbus ...
"Hold tight, everybody," I said to Alice, grudgingly including Pop in my warning. "I got to try it."
I gripped my seat with my knees and one arm and pushed the green button. It pushed.
The plane swung around in a level loop, not too tight to disturb the stomach much, and steadied out again.
I couldn't judge how far we'd swung but Alice and me watched the green stars and after about a minute she said, "They're getting closer," and a little while later I said, "Yeah, for sure."
I scanned the board. The green button--the cracking-plant button, to call it that--was locked down of course. The Atla-Hi button was up, glowing violet. All the other buttons were still up and locked up--I tried them all again.
It was clear as day used to be. We could either go to Atla-Hi or we could go back where we'd started from. There was no third possibility.
It was a little hard to take. You think of a plane as freedom, as something that will carry you anywhere in the world you choose to go, especially any paradise, and then you find yourself worse limited than if you'd stayed on the ground--at least that was the way it was happening to us.
But Alice and me were realists. We knew it wouldn't help to wail. We were up against another of those "two" problems, the problem of two destinations, and we had to choose ours.
If we go back, I thought, we can trek on somewhere--anywhere--richer by the loot from the plane, especially that Survival Kit. Trek on with some loot we'll mostly never understand and with the knowledge that we are leaving a plane that can fly, that we are shrinking back from an unknown adventure.
Also if we go back there's something else we'll have to face, something we'll have to live with for a little while at least that won't be nice to live with after this cozily personal cabin, something that shouldn't bother me at all but, dammit, it does.
Alice made the decision for us and at the same time showed she was thinking about the same thing as me.
"I don't want to have to smell him, Ray," she said. "I am not going back to keep company with that filthy corpse. I'd rather anything than that." And she pushed the Atla-Hi button again and as the plane started to swing she looked at me defiantly as if to say I'd reverse the course again over her dead body.
"Don't tense up," I told her. "I want a new shake of the dice myself."
"You know, Alice," Pop said reflectively, "it was the smell of my Alamoser got to me too. I just couldn't bear it. I couldn't get away from it because my fever had me pinned down, so there was nothing left for me to do but go crazy. No Atla-Hi for me, just Bug-land. My mind died, though not my memory. By the time I'd got my strength back I'd started to be a new bugger. I didn't know no more about living than a newborn babe, except I knew I couldn't go back--go back to murdering and all that. My new mind knew that much though otherwise it was just a blank. It was all very funny."
"And then I suppose," Alice cut in, her voice corrosive with sarcasm, "you hunted up a wandering preacher, or perhaps a kindly old hermit who lived on hot manna, and he showed you the blue sky!"
"Why no, Alice," Pop said. "I told you I don't go for religion. As it happens, I hunted me up a couple of murderers, guys who were worse cases then myself but who'd wanted to quit because it wasn't getting them nowhere and who'd found, I'd heard, a way of quitting, and the three of us had a long talk together."
"And they told you the great secret of how to live in the Deathlands without killing," Alice continued acidly. "Drop the nonsense, Pop. It can't be done."
"It's hard, I'll grant you," Pop said. "You have to go crazy or something almost as bad--in fact, maybe going crazy is the easiest way. But it can be done and, in the long run, murder is even harder."
I decided to interrupt this idle chatter. Since we were now definitely headed for Atla-Hi and there was nothing to do until we got there, unless one of us got a brainstorm about the controls, it was time to start on the less obvious stuff I'd tabled in my mind.
"Why are you on this plane, Pop?" I asked sharply. "What do you figure on getting out of Alice and me?--and I don't mean the free meals."
He grinned. His teeth were white and even--plates, of course. "Why, Ray," he said, "I was just giving Alice the reason. I like to talk to murderers, practicing murderers preferred. I need to--have to talk to 'em, to keep myself straight. Otherwise I might start killing again and I'm not up to that any more."
"Oh, so you get your kicks at second hand, you old peeper," Alice put in but, "Quit lying, Pop," I said. "About having quit killing, for one thing. In my books, which happen to be the old books in this case, the accomplice is every bit as guilty as the man with the slicer. You helped us kill the Pilot by giving that funny scream and you know it."
"Who says I did?" Pop countered, rearing up a little. "I never said so. I just said, 'Forget it.'" He hesitated a moment, studying me. Then he said, "I wasn't the one gave that scream. In fact, I'd have stopped it if I'd been able."
"Who did then?"
Again he studied me as he hesitated. "I'm not telling," he said, settling back.
"Pop!" I said, sharp again. "Buggers who pad together tell everything."
"Oh yeah," he agreed, smiling. "I remember saying that to quite a few guys in my day. It's a very restful comradely sentiment. I killed every last one of 'em, too."
"You may have, Pop," I granted, "but we're two to one."
"So you are," he agreed softly, looking the both of us over. I knew what he was thinking--that Alice still had just her pliers on and that in these close quarters his knives were as good as my gun.
"Give me your right hand, Alice," I said. Without taking my eyes off Pop I reached the knife without a handle out of her belt and then I started to unscrew the pliers out of her stump.
"Pop," I said as I did so, "you may have quit killing for all I know. I mean you may have quit killing clean decent Deathland style. But I don't believe one bit of that guff about having to talk to murderers to keep your mind sweet. Furthermore--"
"It's true though," he interrupted. "I got to keep myself reminded of how lousy it feels to be a murderer."
"So?" I said. "Well, here's one person who believes you've got a more practical reason for being on this plane. Pop, what's the bounty Atla-Hi gives you for every Deathlander you bring in? What would it be for two live Deathlanders? And what sort of reward would they pay for a lost plane brought in? Seems to me they might very well make you a citizen for that."
"Yes, even give you your own church," Alice added with a sort of wicked gaiety. I squeezed her stump gently to tell her let me handle it.
"Why, I guess you can believe that if you want to," Pop said and let out a soft breath. "Seems to me you need a lot of coincidences and happenstances to make that theory hold water, but you sure can believe it if you want to. I got no way, Ray, to prove to you I'm telling the truth except to say I am."
"Right," I said and then I threw the next one at him real fast. "What's more, Pop, weren't you traveling in this plane to begin with? That cuts a happenstance. Didn't you hop out while we were too busy with the Pilot to notice and just pretend to be coming from the cracking plant? Weren't the buttons locked because you were the Pilot's prisoner?"
Pop creased his brow thoughtfully. "It could have been that way," he said at last. "Could have been--according to the evidence as you saw it. It's quite a bright idea, Ray. I can almost see myself skulking in this cabin, while you and Alice--"
"You were skulking somewhere," I said. I finished screwing in the knife and gave Alice back her hand. "I'll repeat it, Pop," I said. "We're two to one. You'd better talk."
"Yes," Alice added, disregarding my previous hint. "You may have given up fighting, Pop, but I haven't. Not fighting, nor killing, nor anything in between those two. Any least thing." My girl was being her most pantherish.
"Now who says I've given up fighting?" Pop demanded, rearing a little again. "You people assume too much, it's a dangerous habit. Before we have any trouble and somebody squawks about me cheating, let's get one thing straight. If anybody jumps me I'll try to disable them, I'll try to hurt them in any way short of killing, and that means hamstringing and rabbit-punching and everything else. Every least thing, Alice. And if they happen to die while I'm honestly just trying to hurt them in a way short of killing, then I won't grieve too much. My conscience will be reasonably clear. Is that understood?"
I had to admit that it was. Pop might be lying about a lot of things, but I just didn't believe he was lying about this. And I already knew Pop was quick for his age and strong enough. If Alice and me jumped him now there'd be blood let six different ways. You can't jump a man who has a dozen knives easy to hand and not expect that to happen, two to one or not. We'd get him in the end but it would be gory.
"And now," Pop said quietly, "I will talk a little if you don't mind. Look here, Ray ... Alice ... the two of you are confirmed murderers, I know you wouldn't tell me nothing different, and being such you both know that there's nothing in murder in the long run. It satisfies a hunger and maybe gets you a little loot and it lets you get on to the next killing. But that's all, absolutely all. Yet you got to do it because it's the way you're built. The urge is there, it's an overpowering urge, and you got nothing to oppose it with. You feel the Big Grief and the Big Resentment, the dust is eating at your bones, you can't stand the city squares--the Porterites and Mantenors and such--because you know they're whistling in the dark and it's a dirty tune, so you go on killing. But if there were a decent practical way to quit, you'd take it. At least I think you would. When you still thought this plane could take you to Rio or Europe you felt that way, didn't you? You weren't planning to go there as murderers, were you? You were going to leave your trade behind."
It was pretty quiet in the cabin for a couple of seconds. Then Alice's thin laugh sliced the silence. "We were dreaming then," she said. "We were out of our heads. But now you're talking about practical things, as you say. What do you expect us to do if we quit our trade, as you call it--go into Walla Walla or Ouachita and give ourselves up? I might lose more than my right hand at Ouachita this time--that was just on suspicion."
"Or Atla-Hi," I added meaningfully. "Are you expecting us to admit we're murderers when we get to Atla-Hi, Pop?"
The old geezer smiled and thinned his eyes. "Now that wouldn't accomplish much, would it? Most places they'd just string you up, maybe after tickling your pain nerves a bit, or if it was Manteno they might put you in a cage and feed you slops and pray over you, and would that help you or anybody else? If a man or woman quits killing there's a lot of things he's got to straighten out--first his own mind and feelings, next he's got to do what he can to make up for the murders he's done--help the next of kin if any and so on--then he's got to carry the news to other killers who haven't heard it yet. He's got no time to waste being hanged. Believe me, he's got work lined up for him, work that's got to be done mostly in the Deathlands, and it's the sort of work the city squares can't help him with one bit, because they just don't understand us murderers and what makes us tick. We have to do it ourselves."
"Hey, Pop," I cut in, getting a little interested in the argument (there wasn't anything else to get interested in until we got to Atla-Hi or Pop let down his guard), "I dig you on the city squares (I call 'em cultural queers) and what sort of screwed-up fatheads they are, but just the same for a man to quit killing he's got to quit lone-wolfing it. He's got to belong to a community, he's got to have a culture of some sort, no matter how disgusting or nutsy."
"Well," Pop said, "don't us Deathlanders have a culture? With customs and folkways and all the rest? A very tight little culture, in fact. Nutsy as all get out, of course, but that's one of the beauties of it."
"Oh sure," I granted him, "but it's a culture based on murder and devoted wholly to murder. Murder is our way of life. That gets your argument nowhere, Pop."
"Correction," he said. "Or rather, re-interpretation." And now for a little while his voice got less old-man harsh and yet bigger somehow, as if it were more than just Pop talking. "Every culture," he said, "is a way of growth as well as a way of life, because the first law of life is growth. Our Deathland culture is devoted to growing through murder away from murder. That's my thought. It's about the toughest way of growth anybody was ever asked to face up to, but it's a way of growth just the same. A lot bigger and fancier cultures never could figure out the answer to the problem of war and killing--we know that, all right, we inhabit their grandest failure. Maybe us Deathlanders, working with murder every day, unable to pretend that it isn't part of every one of us, unable to put it out of our minds like the city squares do--maybe us Deathlanders are the ones to do that little job."
"But hell, Pop," I objected, getting excited in spite of myself, "even if we got a culture here in the Deathlands, a culture that can grow, it ain't a culture that can deal with repentant murderers. In a real culture a murderer feels guilty and confesses and then he gets hanged or imprisoned a long time and that squares things for him and everybody. You need religion and courts and hangmen and screws and all the rest of it. I don't think it's enough for a man just to say he's sorry and go around glad-handing other killers--that isn't going to be enough to wipe out his sense of guilt."
Pop squared his eyes at mine. "Are you so fancy that you have to have a sense of guilt, Ray?" he demanded. "Can't you just see when something's lousy? A sense of guilt's a luxury. Of course it's not enough to say you're sorry--you're going to have to spend a good part of the rest of your life making up for what you've done ... and what you will do, too! But about hanging and prisons--was it ever proved those were the right thing for murderers? As for religion now--some of us who've quit killing are religious and a lot of us (me included) aren't; and some of the ones that are religious figure (maybe because there's no way for them to get hanged) that they're damned eternally--but that doesn't stop them doing good work. I ask you now, is any little thing like being damned eternally a satisfactory excuse for behaving like a complete rat?"
That did it, somehow. That last statement of Pop's appealed so much to me and was completely crazy at the same time, that I couldn't help warming up to him. Don't get me wrong, I didn't really fall for his line of chatter at all, but I found it fun to go along with it--so long as the plane was in this shuttle situation and we had nothing better to do.
Alice seemed to feel the same way. I guess any bugger that could kid religion the way Pop could got a little silver star in her books. Bronze, anyway.
Right away the atmosphere got easier. To start with we asked Pop to tell us about this "us" he kept mentioning and he said it was some dozens (or hundreds--nobody had accurate figures) of killers who'd quit and went nomading around the Deathlands trying to recruit others and help those who wanted to be helped. They had semi-permanent meeting places where they tried to get together at pre-arranged dates, but mostly they kept on the go, by twos and threes or--more rarely--alone. They were all men so far, at least Pop hadn't heard of any women members, but--he assured Alice earnestly--he would personally guarantee that there would be no objections to a girl joining up. They had recently taken to calling themselves Murderers Anonymous, after some pre-war organization Pop didn't know the original purpose of. Quite a few of them had slipped and gone back to murdering again, but some of these had come back after a while, more determined than ever to make a go of it.
"We welcomed 'em, of course," Pop said. "We welcome everybody. Everybody that's a genuine murderer, that is, and says he wants to quit. Guys that aren't blooded yet we draw the line at, no matter how fine they are."
Also, "We have a lot of fun at our meetings," Pop assured us. "You never saw such high times. Nobody's got a right to go glooming around or pull a long face just because he's done a killing or two. Religion or no religion, pride's a sin."
Alice and me ate it all up like we was a couple of kids and Pop was telling us fairy tales. That's what it all was, of course, a fairy tale--a crazy mixed-up fairy tale. Alice and me knew there could be no fellowship of Deathlanders like Pop was describing--it was impossible as blue sky--but it gave us a kick to pretend to ourselves for a while to believe in it.
Pop could talk forever, apparently, about murder and murderers and he had a bottomless bag of funny stories on the same topic and character vignettes--the murderers who were forever wanting their victims to understand and forgive them, the ones who thought of themselves as little kings with divine rights of dispensing death, the ones who insisted on laying down (chastely) beside their finished victims and playing dead for a couple of hours, the ones who weren't so chaste, the ones who could only do their killings when they were dressed a certain way (and the troubles they had with their murder costumes), the ones who could only kill people with certain traits or of a certain appearance (red-heads, say, or people who read books, or who couldn't carry tunes, or who used bad language), the ones who always mixed sex and murder and the ones who believed that murder was contaminated by the least breath of sex, the sticklers and the Sloppy Joes, the artists and the butchers, the ax- and stiletto-types, the compulsives and the repulsives--honestly, Pop's portraits from life added up to a Dance of Death as good as anything the Middle Ages ever produced and they ought to have been illustrated like those by some great artist. Pop told us a lot about his own killings too. Alice and me was interested, but neither of us wasn't tempted into making parallel revelations about ourselves. Your private life's your own business, I felt, as close as your guts, and no joke's good enough to justify revealing a knot of it.
Not that we talked about nothing but murder while we were bulleting along toward Atla-Hi. The conversation was free-wheeling and we got onto all sorts of topics. For instance, we got to talking about the plane and how it flew itself--or levitated itself, rather. I said it must generate an antigravity field that was keyed to the body of the plane but nothing else, so that we didn't feel lighter, nor any of the objects in the cabin--it just worked on the dull silvery metal--and I proved my point by using Mother to shave a little wisp of metal off the edge of the control board. The curlicue stayed in the air wherever you put it and when you moved it you could feel the faintest sort of gyroscopic resistance. It was very strange.
Pop pointed out it was a little like magnetism. A germ riding on an iron filing that was traveling toward the pole of a big magnet wouldn't feel the magnetic pull--it wouldn't be operating on him, only on the iron--but just the same the germ'd be carried along with the filing and feel its acceleration and all, provided he could hold on--but for that purpose you could imagine a tiny cabin in the filing. "That's what we are," Pop added. "Three germs, jumbo size."
Alice wanted to know why an antigravity plane should have even the stubbiest wings or a jet for that matter, for we remembered now we'd noticed the tubes, and I said it was maybe just a reserve system in case the antigravity failed and Pop guessed it might be for extra-fast battle maneuvering or even for operating outside the atmosphere (which hardly made sense, as I proved to him).
"If we're a battle plane, where's our guns?" Alice asked. None of us had an answer.
We remembered the noise the plane had made before we saw it. It must have been using its jets then. "And do you suppose," Pop asked, "that it was something from the antigravity that made electricity flare out of the top of the cracking plant? Like to have scared the pants off me!" No answer to that either.
Now was a logical time, of course, to ask Pop what he knew about the cracking plant and just who had done the scream if not him, but I figured he still wouldn't talk; as long as we were acting friendly there was no point in spoiling it.
We guessed around a little, though, about where the plane came from. Pop said Alamos, I said Atla-Hi, Alice said why not from both, why couldn't Alamos and Atla-Hi have some sort of treaty and the plane be traveling from the one to the other. We agreed it might be. At least it fitted with the Atla-Hi violet and the Alamos blue being brighter than the other colors.