The beach is packed with sunbathers, most of them from Earth. Skein walks among them. “Look,” he wants to say, “I have this trouble with my brain, an old injury, and it gives me these visions of myself in the past and future, and one of the visions I see is a place where there’s a skull-faced man who takes me to a kind of amoeba in a pit that can heal me, do you follow? And it’s a planet with purple sand and blue-leaved trees, just like this one, and I figure if I keep going long enough I’m bound to find it and the skull-face and the amoeba, do you follow me? And maybe this is the planet after all, only I’m in the wrong part of it. What should I do? What hope do you think I really have?” This is the third world. He knows that he must visit a number of wrong ones before he finds the right one. But how many? How many? And when will he know that he has the right one?
Standing silent on the beach, he feels confusion come over him, and drops into fugue, and is hurled to another world. Purple sand, blue-leaved trees. A fat, friendly Pingalorian consul. “A skull-faced man? No, I can’t say I know of any.” Which world is this, Skein wonders? One that I have already visited, or one that I have not yet come to? The manifold layers of illusion dazzle him. Past and future and present lie like a knot around his throat. Shifting planes of reality; intersecting films of event. Purple sand, blue-leaved trees. Which planet is this? Which one? Which one? He is back on the crowded beach. A lemon sun. An orange sea. He is back in his cabin on the spaceliner. He sees a note in his own handwriting: You are a passenger aboard a ship heading for Abbondanza VI, and will be landing in a few days. So everything was a vision. Flashback? Flashforward? He is no longer able to tell. He is baffled by these identical worlds. Purple sand. Blue-leaved trees. He wishes he knew how to cry.
Instead of a client and a consultant for today’s communion, Skein has a client and a client. A man and a woman, Michaels and Miss Schumpeter. The communion is of an unusually intimate kind. Michaels has been married six times, and several of the marriages apparently have been dissolved under bitter circumstances. Miss Schumpeter, a woman of some wealth, loves Michaels but doesn’t entirely trust him; she wants a peep into his mind before she’ll put her thumb to the marital cube. Skein will oblige. The fee has already been credited to his account. Let me not to the marriage of true minds admit impediments. If she does not like what she finds in her beloved’s soul, there may not be any marriage, but Skein will have been paid.
A tendril of his mind goes to Michaels, now. A tendril to Miss Schumpeter. Skein opens his filters. “Now you’ll meet for the first time,” he tells them. Michaels flows to her. Miss Schumpeter flows to him. Skein is merely the conduit. Through him pass the ambitions, betrayals, failures, vanities, deteriorations, disputes, treacheries, lusts, generosities, shames, and follies of these two human beings. If he wishes, he can examine the most private sins of Miss Schumpeter and the darkest yearnings of her future husband. But he does not care. He sees such things every day. He takes no pleasure in spying on the psyches of these two. Would a surgeon grow excited over the sight of Miss Schumpeter’s Fallopian tubes or Michaels’s pancreas? Skein is merely doing his job. He is no voyeur, simply a Communicator. He looks upon himself as a public utility.
When he severs the contact, Miss Schumpeter and Michaels both are weeping.
“I love you!” she wails.
“Get away from me!” he mutters.
Purple sand. Blue-leaved trees. Oily orange sea.
The skull-faced man says, “Won’t you ever come to see that causality is merely an illusion, Skein? The notion that there’s a consecutive series of events is nothing but a fraud. We impose form on our lives, we talk of time’s arrow, we say that there’s a flow from A through G and Q to Z, we make believe everything is nicely linear. But it isn’t, Skein. It isn’t.”
“So you keep telling me.”
“I feel an obligation to awaken your mind to the truth. G can come before A, and Z before both of them. Most of us don’t like to perceive it that way, so we arrange things in what seems like a more logical pattern, just as a novelist will put the motive before the murder and the murder before the arrest. But the universe isn’t a novel. We can’t make nature imitate art. It’s all random, Skein, random, random!”
“Half a million?”
“Half a million.”
“You know I don’t have that kind of money.”
“Let’s not waste time, Mr. Coustakis. You have assets. Pledge them as collateral. Credit is easily obtained.” Skein waits for the inventor to clear his loan. “Now we can proceed,” he says, and tells his desk, “Get Nissenson into a receptive state.”
Coustakis says, “First let me get it clear. This man will see everything that’s in my mind? He’ll get access to my secrets?”
“No. No. I filter the communion with great care. Nothing will pass from your mind to his except the nature of the problem you want him to tackle. Nothing will came come back from his mind to yours except the answer.”
“And if he doesn’t have the answer?”
“He will.”
“And if he goes into the transmission business for himself afterward?”
“He’s bonded,” Skein says curtly. “No chance of it. Let’s go, now. Up and together.”
“Skein? Skein? Skein? Skein?”
The wind is rising. The sand, blown aloft, stains the sky grey. Skein clambers from the pit and lies by its rim, breathing hard. The skull-faced man helps him get up.
Skein has seen this series of images hundreds of times. “How do you feel?” the skull-faced man asks.
“Strange. Good. My head seems so clear!”
“You had communion down there?”
“Oh, yes. Yes.”
“And?”
“I think I’m healed,” Skein says in wonder. “My strength is back. Before, you know, I felt cut down to the bone, a minimum version of myself. And now. And now.” He lets a tendril of consciousness slip forth. It meets the mind of the skull-faced man. Skein is aware of a glassy interface; he can touch the other mind, but he cannot enter it. “Are you a Communicator too?” Skein asks, awed.
“In a sense. I feel you touching me. You’re better, aren’t you?”
“Much. Much. Much.”
“As I told you. Now you have your second chance, Skein. Your gift has been restored. Courtesy of our friend in the pit. They love being helpful.”
“Skein? Skein? Skein? Skein?”
We conceive of time either as flowing or as enduring. The problem is how to reconcile these concepts. From a purely formalistic point of view there exists no difficulty, as these properties can be reconciled by means of the concept of a duratio successiva. Every unit of time measure has this characteristic of a flowing permanence: an hour streams by while it lasts and so long as it lasts. Its flowing is thus identical with its duration. Time, from this point of view, is transitory; but its passing away lasts.
In the early months of his affliction he experienced a great many scenes of flashforward while in fugue. He saw himself outside the nineteenth-century mansion, he saw himself in a dozen lawyers’ offices, he saw himself in hotels, terminals, spaceliners, he saw himself discussing the nature of time with the skull-faced man, he saw himself trembling on the edge of the pit, he saw himself emerging healed, he saw himself wandering from world to world, looking for the right one with purple sand and blue-leaved trees. As time unfolded most of these flash-forwards duly entered the flow of the present; he did come to the mansion, he did go to those hotels and terminals, he did wander those useless worlds. Now, as he approaches Abbondanza VI, he goes through a great many flashbacks and a relatively few flashforwards, and the flashforwards seem to be limited to a fairly narrow span of time, covering his landing on Abbondanza VI, his first meeting with the skull-faced man, his journey to the pit, and his emergence, healed, from the amoeba’s lair. Never anything beyond that final scene. He wonders if time is going to run out for him on Abbondanza VI.