George Mills Part 13

"He could do the job. You could see he could do the job."

"Yes."

"I asked my father why they'd go to all that trouble. They had to rehea.r.s.e. I mean why would the normal guy have to rehea.r.s.e losing if he had to lose anyway? If just being shorter and fifty pounds lighter and, you know, normal, was all he ever needed to lose? Why did it have to be fixed?"

"You should listen to your father."

"He said they did it to make it more exciting."

"You should listen to your father."

"He said it's all fixed. That even the champions.h.i.+p is fixed."

"I don't follow wrestling," Wickland said. "I'm certain he's right. You should listen to your father."

"They believe in it and fix it, too," George said.

"You should listen to your father," Wickland said.

He did listen to him. To the long story of Greatest Grandfather Mills and his adventures in Europe, to the stories of subsequent Millses in the male, unbroken, centuries-long Mills line-the women shadowy figures, like his mother, like the woman he would one day marry-wondering why his father never spoke of his own life, if anything had ever happened to him worthy of even being related. He did listen to him. He listened to all of them--to Kinsley and Suns.h.i.+ne and Madam Grace Treasury and all of them, making a fourth at their seances, a silent partner at their consultations.

He listened to all of them and watched Bennett Prettyman.

He was the largest of Ca.s.sadaga's large men, that meaty fraternity of flesh Mills would all his life a.s.sociate with what seemed most rival to it. "I don't know why," Kinsley had once told him, "spirit runs so much to size and bulk. It would seem that the bigger someone is-the more s.p.a.ce he takes up-the more room his soul would have. It could afford to stay home you'd think, and not go flying off to look for trouble somewheres else." Wickland, too, had mentioned it. "Perhaps," he'd said, "the radical nubbin requires something solid by way of atmosphere. Would man be man if he didn't have a whole universe to rattle around in?"

George Mills could not vouch for his soul or what Wickland called "the radical nubbin," but he was prepared to swear that Bennett Prettyman did not rattle. Indeed, he made no noise at all, was quiet as photograph, silent as sky.

"I'm a lullaby," he said in that low, soft, almost timbreless, cooing, asibilant voice like that of a baby given vocabulary. "I don't know how I do it. Shut your eyes. Listen. Here I come." George was seated in Prettyman's office, a large, square, lean-to-like room with a concrete floor like the floor of a garage. Prettyman was in his swivel chair at a roll top desk across the room from him. "Go on," he said, "shut them. It heightens the effect." The boy shut his eyes. "Are they shut?" he heard Prettyman ask.

"Yes, sir," George said.

"Well open them," the man said. "How do you expect to see me in the dark?"

Prettyman was standing inside George's spread knees. "You ain't no Indian boy," Prettyman said. "Indian boys' hearing is honed by the dark. You never heard me come up. I was already standing here when I asked if your eyes were shut. Well, sure," he said, "you figure there must be rubber casters on my chair. Go look for yourself if that's what you think."

"That's not what I think," George said.

"Go on, satisfy yourself. Sit right down in it. There ain't any trick, but a doubting Tom always got to test for himself if the knots is loose or the handcuffs is real."

George got up and crossed the room, conscious of the hooflike claps his shoes made on the cement. He pulled the chair out from the desk. Its wooden legs sc.r.a.ped the hard flooring. He sat and the chair creaked.

"Haw!" Prettyman exploded gruffly. He was standing behind the startled boy's left shoulder.

"I didn't hear you," George said.

"I was with you every step of the way," Bennett Prettyman said. "And don't think I walked tippy toe or under cover of your footsteps either, or that I'm wearing crepe soles or maybe sponge or velvet. That's an idea lots of them get. Lay it to rest, lay it to rest." He tugged at his pants pleats and exposed dark, hard bluchers. "See?" he said. "Heavy-duty work shoes. Course, that that don't prove nothing. I could still be standing on top of powder puffs. You think? You think so?" He raised his shoes, exposing the soles for George's inspection. They were cleated. "Haw!" he barked. "I suppose you want to touch them to feel if they're metal. Here, I'll save you the trouble." He stamped his left foot on the ground heavily and pulled it shrilly across the cement floor. When Prettyman stepped back, George could see the ten-inch slash the big man had made in the concrete. "Haw," he laughed, and leaned toward the boy, his face red and his huge shoulders shaking, silently breathless. "But something important as conversion is worth more than a few flashy card tricks, ain't it? You don't give your heart just cause the fella fooled you with the green pea and the walnut sh.e.l.l. Open that top drawer." don't prove nothing. I could still be standing on top of powder puffs. You think? You think so?" He raised his shoes, exposing the soles for George's inspection. They were cleated. "Haw!" he barked. "I suppose you want to touch them to feel if they're metal. Here, I'll save you the trouble." He stamped his left foot on the ground heavily and pulled it shrilly across the cement floor. When Prettyman stepped back, George could see the ten-inch slash the big man had made in the concrete. "Haw," he laughed, and leaned toward the boy, his face red and his huge shoulders shaking, silently breathless. "But something important as conversion is worth more than a few flashy card tricks, ain't it? You don't give your heart just cause the fella fooled you with the green pea and the walnut sh.e.l.l. Open that top drawer."

George pulled at the drawer. "It's locked," he said.

"It ain't locked. I don't lock it."

He tried again but couldn't budge it. "It's stuck," he said.

"Here, let me," Prettyman said. George watched as he came noiselessly from where he'd been standing. Though Prettyman walked as other men did, it was as if he moved on air. When the man was almost beside him he suddenly stumbled and fell. He made no sound when he hit the floor. "I'm that tree in that forest when no one is by," he said. "Help me up," he said. "I'm too big for these pratfalls."

"You're bleeding," George said.

"Yeah? Am I?" he said, and raised a finger to his lips. "Hush. Hush then and listen."

George could just make out a faint slos.h.i.+ng sound, like soda splas.h.i.+ng into a gla.s.s.

"I ain't got you yet, do I?" Prettyman said. "You're some tough customer. I thought I asked you to help me up." The boy took hold of the big man's suit coat and helped him stand. "That's seersucker. My clothes don't crinkle. That drawer still stuck?" He pulled on it with all his heavy force. The boy knew how he operated now, not how he did it, but the pattern, something of his magician's preemptive sequences. He knew there would be no sound as the drawer came suddenly unstuck. He even antic.i.p.ated the noiseless crash Prettyman would make as he was thrown off balance against the wall, the drawer still in his hands.

"Haw," Prettyman said, watching him narrowly. "Haw?" It was a question. It was like the c.o.c.ked, sidelong glance of an animal who has just fetched or performed unbidden some difficult trick. The boy had the power now. The coached and lectured, instructed, explanationed boy did. He looked blankly as he could at Bennett Prettyman, still off balance and clumsied uncomfortably against the wall by his hunched shoulders. Prettyman held the drawer out to him. It was filled with nails, wax paper, gravel, marbles, broken gla.s.s, sandpaper, cellophane and a small bra.s.s bell.

"Haw," Prettyman said softly, "haw."

George Mills started to cry.

"You ain't crying 'cause you're scared," Prettyman said. "You're crying 'cause you think I tricked you."

"I don't," George said.

"You don't?" Prettyman said. "Then you ought to," he said softly. He was being scolded, shouted at in that strange, unamplified, timbreless, infant's voice. "What is it if it ain't tricks? Look at me. Look Look at me. You can't hear me, look at me." at me. You can't hear me, look at me."

"I hear you."

"Don't sa.s.s me. Don't you be fresh.

"Because I don't know how them other folks do it, the ones that claim to fly and the ones that have the dead over to supper like they was cousins from out of town. Prophets better than the newspapers or wire services who fix where the spring earthquake in China will be and know which movie stars will come to grief and what will happen to the presidents. I don't know know how they do it. I don't know how they touch her handkerchief and know where the little girl's body is buried, or tip off the cops where the kidnapper is. (There's men on that chain gang that your daddy laid off-did you know this?-there's men on that chain gang who'd still be at home if it wasn't for clues that a crystal ball give.) I don't how they do it. I don't know how they touch her handkerchief and know where the little girl's body is buried, or tip off the cops where the kidnapper is. (There's men on that chain gang that your daddy laid off-did you know this?-there's men on that chain gang who'd still be at home if it wasn't for clues that a crystal ball give.) I don't know know how they do it, the ones that know the future from arithmetic or give you your character from the salt in the sea. h.e.l.l, I don't even know how the fella at the fair does it, how he can tell you your weight before you step on the scale. how they do it, the ones that know the future from arithmetic or give you your character from the salt in the sea. h.e.l.l, I don't even know how the fella at the fair does it, how he can tell you your weight before you step on the scale.

"So you better start start thinking is it a trick, and wondering what it means if it ain't. We're in big trouble if it ain't, kid, cause the universe won't be through with us even after we're quits with it. Forget G.o.d. G.o.d ain't in it. Forget G.o.d and Satan, too. We got enough to worry about just from the folks in Ca.s.sadaga. Between them and our widows we stand to be horsed around the afterworld from now till the cows come home. So you better hope it thinking is it a trick, and wondering what it means if it ain't. We're in big trouble if it ain't, kid, cause the universe won't be through with us even after we're quits with it. Forget G.o.d. G.o.d ain't in it. Forget G.o.d and Satan, too. We got enough to worry about just from the folks in Ca.s.sadaga. Between them and our widows we stand to be horsed around the afterworld from now till the cows come home. So you better hope it is is a trick, cause if it ain't, if it ain't, ain't no one ever lived who'll know a minute's peace or get a good night's sleep! a trick, cause if it ain't, if it ain't, ain't no one ever lived who'll know a minute's peace or get a good night's sleep!

"And I'm telling you all this for nothing. I can afford to 'cause I do a single. I can't use you, I don't need you. Them others are after your a.s.s. They got some idea that one kid is worth two red Indians or n.i.g.g.e.r slaves. They--"

"That's why?" George said.

"Pardon?"

"That's why they tell me this stuff?"

"Sure that's why. Didn't Kinsley already make you an offer? Sure it's why. Didn't you already know that? Didn't they tell you? Then the joke's on them, ain't it? You got even less extrasensories than them phony injuns and old Pullman porters they work with now. But you think about it. Because if they ain't fakes then maybe you got a calling, vocation, a proper apostolate. Death is the only legitimate work for a man if there isn't any. It stands to reason. Death is just good business if there ain't no death."

Prettyman stopped talking, closed his eyes. George rose to go. "So I don't know," the big man said. George sat back. "I don't know how they do it. I don't even know how I do it. Gift or trick?

"How did I come by my mute body or ever get to be this soft-shoe dance of a man? Because the voice is put on, trained. I do the voice like bel canto. A lot of the rest of it's real.

"I've always been big. I've always been graceful. My pop thought I was stealthy, a kid like a cat burglar. And one time he slapped me and it didn't make noise. Or if it did, then the noise was in his fingers, in his palm. I hadn't learned to control it then. (So some of it's trick. What ain't gift is trick.) I wasn't this athlete of silence then. I hadn't learned all there was about balance, even keel, equilibrium. I couldn't deadlock the marbles or stalemate the stones. I hadn't learned to walk on eggsh.e.l.ls. I do that. I walk on eggsh.e.l.ls at my sessions. (They aren't seances, I don't draw the curtains or turn out the lights. The eggsh.e.l.l stunt kills them, stops the show cold. Come by sometime, you'll see. Well, you have to give them something, after all. You have to give them something you don't show them their dead or put their voices in your mouth like fruit. Come by. Come by sometimes. Bring your lovely mother if you can tear her away from the others. But don't build up her expectations. Tell her it's just a show.) I hadn't discovered how to control it, maneuver my muscles like so many lead toy soldiers or send my weight through my body as if it was blood. Lift my pinkie."

He removed a marble from the drawer and placed it on top of the desk. He put his little finger on the marble. "Go on," he said. "Try to lift it."

"My mother?"

Prettyman folded his hands. "Never mind," he said, "you wouldn't be able to anyway. I transfer all my weight to the first joint of my little finger."

"My mother?"

"She goes to the seances. To see your sister. She even came to me once. She's quite a beautiful woman, isn't she? She would have given me money. A very sweet woman, very very beautiful. You're quite the lucky young man. I told her I couldn't." beautiful. You're quite the lucky young man. I told her I couldn't."

He stood abruptly and walked over to a pail that had been set down in a corner of the room. He scattered sand from the pail onto the cement floor. "Hey, d'ya ever see this one?" he asked him. "I got to give them something. h.e.l.l, the dead don't talk to me. me."

He had begun to dance on the coa.r.s.e sand which lay on the cement like one of those portable floors used by roller skating acts in close quarters. He tapped on it soundlessly in his big cleated bluchers. He closed his eyes, speaking as he danced in that soft, frictionless voice which was like that of a baby.

"If Mom asks you," he said, "tell her that death is only pieces of life. Why shouldn't shouldn't I come and go there so long as I make no noise?" I come and go there so long as I make no noise?"

He stopped. "Slide up that roll top, will you, George? It ain't locked. It ain't even stuck. There's a gun inside, but don't touch it, it's loaded."

But he didn't, wouldn't. He thanked Mr. Prettyman and said he had to be going. He didn't want not to hear the report when the gun went off.

They were at dinner table--he, Wickland, his mother and his father.

"No Mills," his father, tipsy, was saying, "ever pushed his kid into a career, or stood in his way once his mind was made up. He wants to go into songwriting or the pictures, I say let him. I give him a dad's honest blessing and step out of his way."

George was trying to remove the bones from his fish. His father, who had been observing the boy's efforts for some minutes, was inspired to proceed. "Or a career in the surgery profession," he said. "Or banking, or law. Politics, anything. How about it, George? You thinking of replacing Mr. Roosevelt? You don't have to be coy. We're family. I have the honor to include you, Reverend."

"Thank you," Wickland said. "Who'd like more iced tea? You, George? Your gla.s.s is empty."

"Yes," the boy said, "if there's extra."

"Certainly. How about you, Mrs. Mills?"

"I'm fine, thanks."

"The pitcher's cooling in the fridge, George. Why don't you bring it out for all of us?"

"Of course," his father said before George could get up, "of course he might always join his pop in the fallen candy wrapper trade, the chewing-gum-under-the-bench profession, the lawn upkeep calling."

It had been like this for a week, since Prettyman had told him why the mediums were so interested in him. Though no one had spoken to him directly since the funeral, several had approached his father. There was even something courtly about it, his father had said, as if they were asking for his hand in marriage.

"He might even choose the ministry," his father said, looking directly at Wickland. "His mother might like that. She might like that very much. Course he might have to move out, live with, you know, his order, but you'd always see him at church."

"Please, George," his mother said.

"Now Nancy, you know how proud you'd be. Our loss would be the haunts' gain."

For all his sarcasm, his father wanted him to do it. Chiefly it was the extra money, but the boy understood, too, that in a crazy way it had something to do with the honor. He'd winked at him when the boy had relayed Kinsley's offer. "Lord," he'd said, "not only have I risen above my station by janitoring and fetching for crooks, but I got One in the family myself now. We're coming up in the world, George."

It was a sort of joy his father felt, and though the boy couldn't identify its source-he hadn't been around long enough, his father had said, had still to understand the terms of his life, its service elevator condition-he recognized exaltation when he saw it. He'd seen it often enough on the faces of his instructors in the past year or so. As always, it terrified him.

"I've seen my sister," he said suddenly.

But he hadn't. Not then, not yet. Immediately he regretted what he'd said. He had meant to warn his father. He'd tried to warn him for days, to knock him awake with his knowledge. But the man was too exhilarated, as tone deaf to implication as he was, evidently, to actual sound.

"George," he said, "they're crooks. They're crooks, George. They don't do real harm or they'd have to shut down. They're crooks but white collar. Like salesmen, like priests, like anybody alive in the business of making people feel good. Because don't kid yourself, kid, comfort is an industry. It always was. The king's wizards and jesters, and the king himself. And all the rest of us too most likely, all us hired hands, on the job, on duty, on call, dis.h.i.+ng out concern and comfort and busting our b.u.t.ts to remind the next fellow that it could be worse, that he could be us!

"I won't lie to you, George. I won't tell you that plenty of honorable folks before you have done such things, though plenty have. But here, in Ca.s.sadaga, on the front lines of grief, you'd be with the rascals, you'd be with the knaves and villains. I say it makes no difference. Knaves and villains never did anything to anybody but take their money. What's that? We hung on a thousand years without any." His father looked at him. "Oh, I heard you," he said. "That's only Wickland. And I know what bothers you," he said. "You're scared of the sincerity, what stands behind it, or could. You're scared these guys are who they say they are, you think they might be able to deliver."

"Yes," George said.

"You got so much faith, you give doubt so much benefit, take this on faith: there ain't no one, there ain't no one ever, been able to deliver the goods. And I don't care," his father said, "-didn't I say I heard you?-who Wickland shows you! Wickland shows you!

"Relax," he said, "let's think about the practicals of this thing. We got to decide which one of these figure flingers and ghost brokers to go with. Bone says he'll give you three dollars a night. That's about the same bid we got from Ashmore and Suns.h.i.+ne and that woman, Grace Treasury, too. In my judgment it'd be a mistake to go with any of those. Kinsley offered a dime less, but they're all within pennies of each other. There must be a blue book value, or fixed rates, like meters in taxis."

"What do you think?"

"I'd have to say Kinsley," his father said.

"He wants me to work naked."

His father shrugged.

"I don't understand," George said.

"Kinsley's the one your mother goes back to. She's been to them all but goes back to Kinsley. The man must have something. If she keeps going back then Kinsley's the best."

"I couldn't do it," George said. "Supposing I had to be my own sister? Supposing Mother came in and I had to be Janet?"

So his father instructed him, too.

"Supposing you did? It's Kinsley she goes back to, not his control. You think she doesn't know, that those other customers don't know, that whoever it is comes through those curtains or crawls out from underneath that table isn't just some haunt house stooge? You think she could ever believe in anyone who calls himself Dr. N. M. M. Kinsley?

"It's the faculty, the power, of which Kinsley is only some petty instrumentality, like the wall outlet or light socket are the petty instrumentalities of the generators, dynamos, dams and racing waters. It's the power, power, and if they use controls it's because they're not fools, or anyway not fools enough-you were the one who was supposed to take his clothes off, not Kinsley-to go into that room naked without any insulation or just plain honest grounding between themselves and the customers. and if they use controls it's because they're not fools, or anyway not fools enough-you were the one who was supposed to take his clothes off, not Kinsley-to go into that room naked without any insulation or just plain honest grounding between themselves and the customers.

"Which is another reason for Ca.s.sadaga incidentally. Because all the mediums and their controls are just so much interference and insulation between the madness of grief and loss, and the comfortable luxury of talking out loud to the dead."

He went with Kinsley. (He'd had his twelfth birthday months ago.) Not only did he not work naked-Kinsley himself had had other ideas about it now-but was required to wear clothing which, in that hot climate, was not even stocked in the stores. He was dressed as a schoolboy. He wore corduroy knickers and a bright argyle pullover over his plaid wool s.h.i.+rt. He wore a peaked tweed cap like a golfer's and carried his books in a strap.

He was already seated when the others arrived. Kinsley didn't bother to explain the presence of the boy. He simply introduced him as George Mills, p.r.o.nouncing the name solemnly, even gravely. Then he proceeded with the seance, warming them up in the early stages with an account of the physical and supernatural planes, their synchronous and contiguous attributes. When Kinsley asked if there were any disembodied spirits among them, George raised his hand, and Kinsley called on him.

Soon everyone at the table was calling out the names of dead relatives as if they were favorite tunes they wanted played on the piano. They asked him questions which the boy would answer in the vaguest and most general way. Kinsley didn't even allow him to alter his voice. Though he was a young man one moment and an old woman the next, everything was delivered within the familiar, given octaves of his normal speaking voice. It was astonis.h.i.+ng to him how effective he seemed to be.