The couple walking ahead of them obviously had been listening, for the man turned around and challenged Rafe's theory with the titles of a number of Academy Award winners. Lisl recognized him from the sociology department. A few more of the filmgoers chimed in and within minutes Lisl found herself in the heart of a friendly but vigorous debate moving across the east campus. The whole group gravitated to the Hidey-hole where they commandeered one of the big tables and went through round after round of drinks discussing Rafe's theory and Metropolis itself.

"Visually stunning, yes," said Victor Pelham from the sociology department. "But the class-war politics are positively archaic."

"And a rip-off of H. G. Wells," said a doctoral candidate from English. "The idle rich frolicking above and the oppressed workers toiling below—it's the Eloi and the Morlocks from The Time Machine."

Pelham said, "I don't care who he ripped off—a socialist like Wells or Marx himself—that class-war bullshit has been passe for ages. A shame, too. It hobbles the film."

"Maybe it's not as passe as you think," Rafe said.

"Right!" Pelham laughed. "Will the real Overman please stand up."

"I'm not talking about anything so crass as Overmen and Undermen," Rafe said softly. "I'm talking about Primes and non-primes—or, for the sake of simplicity and clarity, Creators and Consumers."

The table fell silent.

"That's where the real division lies," Rafe continued. "There are those who innovate, invent, modify, and elaborate. And there are others who contribute nothing, yet enjoy all the benefits of those innovations/inventions, modifications, and elaborations."

"Sounds like another variation on the Eloi and Morlocks," someone said. "Creators on top, consumers below."

"Not so," said Rafe. "That implies that the Consumer masses are slaves to the Creator overlords, but it doesn't work that way. The Creators are in fact the slaves of the masses, providing them with all the benefits of art and modern science. The Wellsian cliche of the Eloi elite owing their comfortable life-style to the labor of the Morlock masses is backward. The Consumer masses owe their health, their full bellies, and the comforts of civilization to the efforts of the small percentage of Creators among them."

"I'm confused," someone said.

Rafe smiled. "It's not a simple concept. Nor is it a clear-cut division. The dividing line is nothing so obvious as economic status. Creators have often reaped fame and profits from their work, but throughout history there have been countless Creators who've lived out their entire lives in obscurity and abject poverty. Look at Poe, at Van Gogh; think of the mathematicians and physicists whose work Einstein studied in laying the groundwork mat led to his theory of relativity. What are their names?"

No one answered. Lisl glanced around the table. All eyes were fixed on Rafe, everyone mesmerized by his voice.

"And far too many of the wealthiest among us are nothing more than overfed Consumers. Those who have merely inherited their wealth are the most obvious examples. But there are others who've supposedly 'earned' it who are just as useless. Take the Wall Street types—the stockbrokers and arbitrageurs: They spend their lives buying and selling interests in currencies or in concerns that actually produce things, they pocket their commissions, they cash in on the spread, but they produce nothing themselves. Nothing at all."

"Nothing but money!" Pelham said, evoking a few muted laughs.

"Exactly!" Rafe said. "Nothing but money. A whole life of six, seven, eight decades, and what besides a big bank account have they left behind? After their assets are gobbled up by their greedy little Consumer heirs, what mark have they left in their wake? What evidence is there to indicate that they ever passed this way?"

"Not much, I fear," said a middle-aged woman with red hair. Lisl recognized her as being from the philosophy department but couldn't remember her name. "If I may quote Camus: 'I sometimes think of what future historians will say of us. A single sentence will suffice for modern man: He fornicated and read the papers.'"

"And if I may paraphrase Priscilla Mullin," said Rafe. "Speak for yourself, Albert."

Amid the laughter, Pelham said, "Are you serious, or are you just trying to rattle the cage as you did with your sound-as-a-detriment-to-filmmaking theory?"

"I'm quite serious about both."

Pelham stared at him, as if waiting for Rafe to smile and laugh it all off as a joke. Lisl had a feeling he might have a long wait.

"Okay," Pelham said finally. "If all this is true, why haven't these Creators taken over the world?"

"Because they don't know who they are. And because too many of them have learned over the years not to reveal themselves."

"Why on earth not?" Lisl said.

Rafe's eyes poured into hers.

"Because they've already been crippled or damaged by the masses of Consumers who try to destroy any trace of greatness in others, who do anything they can to douse the faintest spark of originality, no matter where they find it. Even in their own children."

Lisl felt as if a bell were chiming in a remote corner of her past, toning in resonance to Rafe's words. It made her uncomfortable.

"I've consumed too many drinks to create a cogent rebuttal," said someone at the far end of the table. He turned to his date. "Want to dance?"

They headed for the postage-stamp dance floor and began to sway to a slow tune on the jukebox. A few others followed; those who didn't said good night and departed.

And left Lisl and Rafe alone at the table.

Lisl glanced around the dimly lit tavern, at its college memorabilia -strewn walls, at the dancers on the floor. When she turned back to Rafe she found him staring at her over the rim of his glass. His eyes glistened in the neon light. The scrutiny made her uncomfortable.

"Care to dance?"

Lisl hesitated an instant. She never had been much of a dancer—always had thought of herself as clumsy—and had never had many opportunities to learn. But the two and a half glasses of wine in her system had lulled her inhibitions and she was too surprised to say no.

"I, uh… sure."

He led her from the table, took her in his arms, pressed himself against her, and led her expertly around the tiny floor. They moved as one. Light presses and pulls from his left hand on her right or from his right hand against the small of her back told her precisely which way to move. For the first time in her life she felt graceful.

"Where did you learn to dance like this?" she asked. "I thought it was a lost art."

He shrugged. "My folks made me take ballroom dancing when I was a kid. I found it came easily. I was the best in the class."

"How did you do in your modesty lessons?"

He laughed. "Flunked every time."

As she became used to the sensation of gliding around the floor, she became aware of another: Rafe's body against hers.

Deep within her, old emotions stirred. At first she wasn't sure what she was feeling. So long since she'd felt much of anything. After the number Brian had done on her in the final days of their marriage, and the nastiness of the divorce, she had simply turned off. She'd wanted nothing to do with another man, and women didn't interest her that way in the least, so she'd gone into a sort of sexual coma.

What was happening now? Was that what she was feeling? Was she waking up? She couldn't deny how good it felt simply to have someone hold her. She was surprised at the emotions awakening in her, churning to life after years of dormancy. Human contact. She had forgotten what it was like. She had thought she no longer needed it. Maybe she was wrong.

She pushed the thought away but stayed close to Rafe. The contact was too enjoyable. He was holding her tight against him. She became aware of the sensation of her breasts rubbing against his chest; their two bodies seemed joined at the pelvis.