Inherit the Earth - Brian Stableford [49]
“It’s very noble of you to take all the guilt upon yourself,” said the other in a voice dripping with sarcasm. “But it’s not true, is it?”
“Yes,” said Silas Arnett.
This time, the editor left in the sound of screaming. Damon shivered, even though he knew that he and everyone else who had managed to download the tape before Interpol deleted it was being manipulated for effect. This was melodrama, not news—but how many people, in today’s world, could tell the difference? How many people would be able to say: It’s just some third-rate pornotape stitched together by an engineer. It’s just a sequence of ones and zeros, like any other cataract of code. It doesn’t mean a thing.
Suddenly, Diana Caisson’s reaction to the discovery that Damon was using her template as a base for the sex tape he had been commissioned to make didn’t seem quite so unreasonable. In using Silas Arnett as the basis of this elaborate fiction the people behind the cartoon judge were not merely exploiting him but destroying him. Silas would never be the same, even if they restored his internal technology. Even if all of this were shown to be a pack of lies, he would never be the same in the eyes of other men—which was where everyone had to live in the world of the Net, no matter how reclusive they chose to be.
The prosecutor spoke again. “The truth, Dr. Arnett, is that at least five persons held a secret conference in May 2095, when Conrad Helier laid out his plan for the so-called salvation of the world. The first experiments with the perfected viruses were carried out in the winter of 2098–99, using rats, mice, and human tissue cultures. When one of his collaborators—was it you, Dr. Arnett?—asked Conrad Helier whether he had the right to play God, his reply was ‘The post is vacant. No one else seems to be interested in taking it up. If we don’t, who will?’ That’s the truth, Dr. Arnett, isn’t it? Isn’t that exactly what he said?”
The cartoon Arnett’s reply to that was unexpected. “Who are you?” he asked, his pain seemingly mingled with suspicion. “I know you, don’t I? If I saw your real face, I’d recognize it, wouldn’t I?”
The answer was equally surprising. “Of course you would,” the other said with transparently false gentleness. “And I know you, Silas Arnett. I know more about you than you can possibly imagine. That’s why you can’t hide what you know.”
At this point, without any warning, the picture cut out. It was replaced by a text display which said:
CONRAD HELIER IS AN ENEMY OF MANKIND
FIND AND IDENTIFY CONRAD HELIER
MORE PROOFS WILL FOLLOW
—OPERATOR 101
Damon stared numbly at the words; their crimson letters glowed eerily against a black background, as if they had been written in fire across the face of an infinite and starless void.
Eleven
D
amon’s first thought was that he had to get in touch with Madoc Tamlin, and that he had to do so privately. He was spared the need to apologize to Karol Kachellek because Karol obviously had calls of his own to make and he too wanted to make them without being overheard. Instead of having to cover his own retreat, Damon found himself being bundled out of the room. He ran all the way back to his hotel, but he went to one of the public booths rather than using the unit in his room.
He checked his incoming mail in case there was anything important awaiting his attention, although he had set alarms to sound if Madoc or Eveline Hywood had called. The only name that caused him to pause as he scanned the list was Lenny Garon. He almost took a look at that message, just in case Madoc had decided to send some item of information by a roundabout route for security reasons, but it seemed more sensible to go directly to the source if it were feasible.
Unfortunately, Madoc seemed to be lying low. Tamlin’s personal number should have reached his beltpack, but it didn’t; the call was rerouted to Madoc’s apartment, where Diana Caisson fielded the call. She didn’t take it in the VE that Damon had designed, though; she must have had the machine set