“Too bad you had to come tonight,” he said stiffly.
She wilted. “Oh, Thorny, I didn’t mean that the way it sounded. And I wouldn’t say it that strongly unless”—she glanced through the soundproof glass toward the stage where her mannequin was on in the scene with Piotr—“unless I had trouble too, with too much wishing.”
“I wish you were with me out there,” he said softly. “With no dolls and no Maestro. I know how it’d be then.”
“Don’t! Please, Thorny, don’t—”
“Mela, I loved you—”
“No!” She got up quickly. “I… I want to see you after the show. Meet me. But don’t talk that way. Especially not here and not now.”
“I can’t help it.”
“Please! Good-by for now, Thorny, and—do your best.”
My best to be a mechanism, he thought bitterly as he watched her go.
He turned to watch the play. Something was wrong out there on the stage. Badly wrong. The Maestro’s interpretation of the scene made it seem unfamiliar somehow.
He frowned. Rick had spoken of the Maestro’s ability to compensate, to shift interpretations, to redirect. Was that what was happening? The Maestro compensating—for his performance?
His cue was approaching. He moved closer to the stage.
Act I had been a flop. Feria, Ferne, and Thomas conferred in an air of tension and a haze of cigarette smoke. He heard heated muttering, but could not distinguish words. Jade called a stagehand, spoke to him briefly, and sent him away. The stagehand wandered through the group until he found Mela Stone, spoke to her quickly and pointed. Thorny watched her go to join the production group, then turned away. He slipped out of their line of sight and stood behind some folded backdrops, waiting for the end of a brief intermission and trying not to think.
“Great act, Thorny,” a costumer said mechanically, and clapped his shoulder in passing.
He suppressed an impulse to kick the costumer. He got out a copy of the script and pretended to read his lines. A hand tugged at his sleeve.
“Jade!” He looked at her bleakly, started to apologize.
“Don’t,” she said. “We’ve talked it over. Rick, you tell him.”
Rick Thomas who stood beside her grinned ruefully and waggled his head. “It’s not altogether your fault, Thorny. Or haven’t you noticed?”
“What do you mean?” he asked suspiciously.
“Take scene five, for example,” Jade put in. “Suppose the cast had been entirely human. How would you feel about what happened?”
He closed his eyes for a moment and relived it. “I’d probably be sore,” he said slowly. “I’d probably accuse Kovrin of jamming my lines and Aksinya of killing my exit—as an excuse,” he added with a lame grin. “But I can’t accuse the dolls. They can’t steal.”
“As a matter of fact, old man, they can,” said the technician. “And your excuse is exactly right.”
“Whh—what?”
“Sure. You did muff the first scene or two. The audience reacted to it. And the Maestro reacts to audience reaction—by compensating through shifts in interpretation. It sees the stage as a whole, you included. As far as the Maestro’s concerned, you’re an untaped dud—like the Peltier doll we used in the first run-through. It sends you only the script-tape signals, uninterpreted. Because it’s got no analogue tape on you. Now without an audience, that’d be O.K. But with art audience reaction to go by, it starts compensating, and since it can’t compensate through you, it works on the others.”
“I don’t understand.”
“Bluntly, Thorny, the first scene or two stunk. The audience didn’t like you. The Maestro started compensating by emphasizing other roles—and recharacterizing you, through the others.”
“Recharacterize? How can it do that.”
“Easily, darling,” Jade told him. “When Marka says ‘I hate him; he’s a beast’—for example—she can say it like it’s true, or she can say it like she’s just temporarily furious with Andreyev. And it affects the light in which the audience see you. Other actors affect your role. You know that’s true of the old stage. Well, it’s true of auto-drama, too.”
He stared at them in amazement. “Can’t you stop it? Readjust the Maestro, I mean?”
“Not without clearing the whole thing out of the machine and starting over. The effect is cumulative. The more it compensates, the tougher it gets for you. The tougher it gets for you, the worse you look to the crowd. And the worse you look to the crowd, the more it tries to compensate.”
He stared wildly at the clock. Less than a minute until the first scene of Act II. “What’ll I do?”
“Stick it,” said Jade. “We’ve been on the phone to Smithfield. There’s a programming engineer in town, and he’s on his way over in a heliocab. Then we’ll see.”
“We may be able to nurse it back in tune,” Rick added, “a little at a time—by feeding in a fake set of audience—restlessness factors, and cutting out its feeler circuits out in the crowd. We’ll try, that’s all.”
The light flashed for the beginning of the act.
“Good luck, Thorny.”
“I guess I’ll need it.” Grimly he started toward his entrance.
The thing in the booth was watching him. It watched and measured and judged and found wanting. Maybe, he thought wildly, it even hated him. It watched, it planned, it regulated, and it was wrecking him.
The faces of the dolls, the hands, the voices—belonged to it. The wizard circuitry in the booth rallied them against him. It saw him, undoubtedly, as one of them, but not answering to its pulsing commands. It saw him, perhaps, as a malfunctioning doll, and it tried to correct the effects of his misbehavior. He thought of the old conflict between director and darfstellar, the self-directed actor—and it was the same conflict, aggravated by an electronic director’s inability to understand that such things could be. The darfsteller, the undirectable portrayer whose acting welled from unconscious sources with no external strings—directors were inclined to hate them, even when the portrayal was superb. A mannequin, however, was the perfect schauspieler, the actor that a director could play like an instrument.
It would have been easier for him now had he been a schauspieler, for perhaps he could adapt. But he was Andreyev, his Andreyev, as he had prepared himself for the role. Andreyev was incarnate as an alter anima within him. He had never “played” a role. He had always become the role. And now he could adapt to the needs of the moment on stage only as Andreyev, in and through his identity with Andreyev, and without changing the feel of his portrayal. To attempt it, to try to fall into conformity with what the Maestro was doing, would mean utter confusion. Yet, the machine was forcing him—through the others.
He stood stonily behind his desk, listening coldly to the denials of the prisoner—a revolutionary, an arsonist associated with Piotr’s guerrilla band.
“I tell you, comrade, I had nothing to do with it!” the prisoner shouted. “Nothing!”
“Haven’t you questioned him thoroughly?” Andreyev growled at the lieutenant who guarded the man. “Hasn’t he signed a confession?”
“There was no need, comrade. His accomplice confessed,” protested the lieutenant.