Mars is My Destination by Frank Belknap Long (ebook offline reader .TXT) 📕

why he was sitting there, only that the alarm bells were ringing again. Only this time it wasn't taking place in a crowded subway train in total darkness, or up near the top of a swaying spiral where an assassin's aim could be a little less than sure. It was man to man, tete-a-tete, in a well-lighted hospital room.

I was flat on my back and weak as hell and Death was looking straight at me out of ice-blue eyes. I had only one straw to clutch at. The hospital room might just possibly be under surveillance and an act of violence that's likely to boomerang can give an assassin pause.

His first words ripped that straw from me and crumpled it up, with such vigor I was sure I could hear a crunching sound.

"I've just a few questions to ask you," he said, in a surprisingly mild tone. "We've made sure that there are no recording devices in this room. We always make a careful check as a matter of routine, when we're forced to demand complete privacy during an interrogation of this sort. It's something we'd prefer not to do, but there are times—"

He shrugged, as if he'd made the point clear enough and resented the necessity of making it any plainer.

"When the internal security of the Colony is endangered," he went on impatiently, "we do not hesitate to invoke all of our authority. We have no choice. Too many people take it for granted that a privately owned combine is exceeding its authority when it undertakes police investigations not specifically authorized by its charter. They forget that such police powers are implicit in every charter which provides for the exercise of reasonable vigilance in the public domain. Safe-guarding the public, which Wendel Atomics serves, would not be possible if we did not exercise such authority."

How true that was I didn't have enough legal knowledge at my finger-tips to decide. But I was pretty sure it was a bald-faced lie. But just his use of the word "power" explained how he'd managed to get as close to me as he'd done, with no one within earshot to hear me if I burst my lungs shouting.

The kind of power the Board had given me the right to exercise superceded whatever display of authority Wendel Atomics had used to turn the hospital room into a prison cell. But who would know or make a move to save me—if the silver bird didn't get a chance to flap its wings on my uniform until they were pumping embalming fluid into my veins and making plans to lower me, with a ceremonial flourish, into a desert grave?

"There are a few things Wendel Atomics has a right to know," Glacial Stare was saying. "A legal right—make no mistake about that. I'd advise you not to lie to me. If you do—"

He shrugged again.

I said something then that surprised me, because I didn't think right at the moment I had that much defiance on tap.

"Shove it!" I said.

He couldn't have heard me, because he went on with no change of expression. "Commander Littlefield is within his rights in refusing to permit us to question him as to what took place on board the Mars' rocket. We have no jurisdiction over such ... irregularities in space. If we questioned just one of his officers, the Board would have every right to revoke our charter. But two of the officers have come to us and voluntarily submitted information which we cannot ignore. We believe that the internal security of the Colony is in danger and we intend to take steps to make sure that none of the questions we have a right to ask will remain unanswered."

He was laying it on the line, all right, speaking with an almost surgical kind of precision, so that I couldn't claim later—if I turned stubborn—that I'd failed to understand him. It's funny how a man who's holding all the cards will sometimes do that, just on the off-chance that you may have an ace up your sleeve and may use it to make trouble for him later on.

He must have been pretty sure I didn't have a concealed ace, however, for he backed up what he was saying with the most dangerous kind of threat. Dangerous to him ... if there had been a hidden listening device in the room and a tape with that threat on it had come to the attention of the Board.

"I hope, for your sake," he said, "that you'll keep nothing back. It is very unpleasant to sit in a Big-Image interrogation room and have part of your mind destroyed. The part you value most, that makes you what you are—destroyed, sliced away. Yes ... sliced away is quite accurate, even though no instrument would be needed and not a hand would be laid on you. You can cut deep into the brain with vibrations alone. But nothing ... physical ever takes place in the Big-Image interrogation room. No knife or vibrator, as you know. The destruction is brought about in a quite different way. But it's just as drastic and irreversible as a prefrontal lobotomy."

He stopped talking abruptly, looking past me at the opposite wall, as if he could already see the shadow of a broken and tormented man projected there. I could see it too, and I didn't like to think that I was coming that close to sharing his thoughts. But it was useless to pretend that the man who was casting that shadow might not turn out to be me.

So they had them on Mars, too, with the Wendel police on hand to make sure that the big screen with its multiple sound tracks and the smoothly operating projector were kept carefully hidden from the law. Big-Image interrogation rooms—a cruel vestige of the brain-washing techniques that had so outraged world opinion in the middle decades of the twentieth century that they had been castigated and outlawed by the United Nations, the World Court and every responsible Governmental agency on Earth.

But the criminal mind has very little respect for world opinion or restrictions on brutal practices that are very difficult to enforce. Big-Image interrogation had begun as a police investigation procedure, which made it easy for the wrong kind of police force to resort to it and claim historic precedent and moral justification as a cover-up if their activities ever came to light.

I was sure that Glacial Stare had mentioned it solely to turn the screw as far as it would go, hoping I'd turn pale and answer his questions in a completely cooperative way. I was sure that if I did he'd stop threatening me immediately, listen with attentive ear to what I had to say and apologize for letting me think, even for a moment, that it was just a part of my mind he'd been planning to destroy. Why should he want to upset me that way, when the only thing he'd had in mind from the start was to persuade me to talk and then relieve me of all anxiety by killing me?

He wasn't giving me credit for having the kind of brain it would have been worth taking the trouble to destroy, even in part, but there was nothing to be gained by reminding him of that.

You don't have to be a professional historian or even a data-collecting research specialist in the police procedure field to pinpoint the origin of Big-Image interrogation in the middle years of the twentieth century.

Three out of five well-informed people can tell you exactly how it began, if you jog them into remembering by showing them a micro-film recording of what took place during just one of those interrogations sixty or seventy years ago.

My memory didn't need to be jogged. I'd examined too many micro-film recordings made even earlier than that—so many years before I was born that the grooves have to be altered if you want to run them off in the projectors that were in common use at the turn of the century, because they ante-date even those old-style machines.

As early as 1965 someone had discovered and pointed out that the cinema was no longer just an entertainment medium. Everyone at the time, I suppose, had made that discovery already, in a private sort of way, but an entire society can have a blind spot and go right on clinging to established patterns of thought, if only because people in general are a little reluctant to discuss openly anything that threatens to overturn the apple cart.

At any rate, about 1965 someone whose name has not come down to us—quite possibly he was a drama critic, that most curious of breeds—had pointed out that the cinema had become a potentially mind-shattering instrument of torture, which could be used to brain-wash a spectator until he became a hopeless psychotic, incapable of distinguishing reality from illusion. Schizophrenic or manic depressive, take your pick.

It was the bigger-than-life illusion that could do that—the strange, often terrifying sense of being caught up in some super-reality that had no real existence in time or space, in the ordinary way that time-and-space manifests itself to us in everyday life.

The cinema became potentially that kind of torture medium the instant the first of the twenty-million-dollar spectacles in full color appeared on the screen.

We know what that kind of illusion can do today and when we watch a screen spectacle that distorts reality for three or four hours by making everything seem fifty or a hundred times as large as life ... we make sure that we are entering a theater that is Government supervised and not a Big-Image interrogation room presided over by a sadist in police uniform.

Everyone knows how it is today, and stays on guard, perpetually alert. But back in the twentieth century the danger wasn't clearly understood, and that lack of understanding was taken advantage of by the brain-washers in uniform to exact confessions at a terrible price.

Everyone is familiar with the disorientation I'm talking about. Even the old stage plays and the earlier black-and-white movies and not a few books could bring it about to some extent, when you left the theater or closed the book, and passed from a world of dramatically heightened illusion into the drabness of everyday life.

But the big screen spectacles in full color, with electronic sound effects, make the world of illusion and the world of sober reality seem as far apart as two contradictory constructs in symbolic logic. When you look at that kind of motion picture you get the illusion that all of the events on the screen, even the intimate, two-person closeups, are taking place on a gigantic scale.

The sharpness and brightness of everything, the brilliance of the colorama, the dramatic selectivity which makes each scene burn its way into your brain as a titan encounter in a world of giants is so overwhelming that when you emerge from the theater after watching such a film the world of reality seems small, stunted, anaemic by contrast.

You look at the men and women walking past you on the street and they seem to have nothing in common with the men and women you've just seen on the screen. That quiet little guy puffing on a cigarette and returning your stunned stare with a perplexed frown may be the director of a big power combine, with just as much lightning at his finger-tips. But he seems like a pygmy. It would be impossible to visualize him as a helmeted giant stripped to the waist, breasting wild seas at the helm of a Viking ship or a spacesuited giant in a colorama with a present-day background.

In the big screen spectacles all of the men seem gigantic, with tremendous, muscular torsos. Even the little guys look like titan figures, fifty or a hundred times as large as they seem outside the theater. And the women—with the possible exception of the very feminine ones with overwhelming sex appeal—look like Amazons.

You can't even equate the violence you encounter in everyday life with the violence that takes place in a big screen spectacle. After you've watched the spectacle kind of violence for three or four hours an army equipped with the most formidable of modern weapons, closing in on a half-bombed out city would look infinitely less formidable—toy soldiers in a kindergarten world which the big-image, colorama giants could topple and scatter just by inflating their cheeks and blowing on them.

Even the Big Mushroom, which we've miraculously managed to keep from blowing Earth apart for almost a century now, looks fifty times as destructive when you see it on the screen, spiraling skyward as the crowning spectacle of a sound-color, fifty-million-dollar Armageddon.

But remember this. It doesn't cost anything like that much to put four or five giants from that kind of motion picture on a screen in a Big-Image interrogation room. The cost, in fact, is negligible, because just one scene can be repeated over and