Who's once been set his tryst with Trystero.

/ Trystero. The word hung in the air as the act ended and all lights were for a moment cut; hung in the dark to puzzle Oedipa Maas, but not yet to exert the power over her it was to.

The fifth act, entirely an anticlimax, is taken up by the bloodbath Gennaro visits on the court of Squamuglia. Every mode of violent death available to Renaissance man, including a lye pit, land mines, a trained falcon with envenom'd talons, is employed. It plays, as Metzger remarked later, like a Road Runner cartoon in blank verse. At the end of it about the only character left alive in a stage dense with corpses is the colorless administrator, Gennaro.

According to the program, The Courier's Tragedy had been directed by one Randolph Driblette. He had also played the part of Gennaro the winner. "Look, Metzger," Oedipa said, "come on backstage with me."

"You know one of them?" said Metzger, anxious to leave.

"I want to find out something. I want to talk to Driblette."

"Oh, about the bones." He had a brooding look.

Oedipa said,

"I don't know. It just has me uneasy. The two things, so close."

"Fine," Metzger said, "and what next, picket the VA.? March on Washington? God protect me," he addressed the ceiling of the little theatre, causing a few heads among those leaving to swivel, "from these lib, overeducated broads with the soft heads and bleeding hearts. I am 35 years old, and I should know better."

"Metzger," Oedipa whispered, embarrassed, "I'm a Young Republican."

"Hap Harrigan comics," Metzger now even louder, "which she is hardly old enough to read, John Wayne on Saturday afternoon slaughtering ten thousand Japs with his teeth, this is Oedipa Maas's World War II, man. Some people today can drive VW's, cany a Sony radio in their shirt pocket. Not this one, folks, she wants to right wrongs, 20 years after it's all over. Raise ghosts. All from a drunken hassle with Manny Di Presso. Forgetting her first loyalty, legal and moral, is to the estate she represents. Not to our boys in uniform, however gallant, whenever they died."

"It isn't that," she protested. "I don't care what Beaconsfield uses in its filter. I don't care what Pierce bought from the Cosa Nostra. I don't want to think about them. Or about what happened at Lago di Pieta, or cancer…" She looked around for words, feeling helpless.

"What then?" Metzger challenged, getting to his feet, looming. "What?"

"I don't know," she said, a little desperate. "Metzger, don't harass me. Be on my side."

"Against whom?" inquired Metzger, putting on shades.

"I want to see if there's a connection. I'm curious."

"Yes, you're curious," Metzger said. "I'll wait in the car, OK?"

Oedipa watched him out of sight, then went looking for dressing rooms; circled the annular corridor outside twice before settling on a door in the shadowy interval between two overhead lights. She walked in on soft, elegant chaos, an impression of emanations, mutually interfering, from the stub-antennas of everybody's exposed nerve endings.

A girl removing fake blood from her face motioned Oedipa on into a region of brightly-lit mirrors. She pushed in, gliding off sweating biceps and momentary curtains of long, swung hair, till at last she stood before Driblette, still wearing his gray Gennaro outfit. "It was great," said Oedipa. "Feel," said Driblette, extending his arm. She felt. Gennaro's costume was gray flannel. "You sweat like hell, but nothing else would really be him, right?"

Oedipa nodded. She couldn't stop watching his eyes. They were bright black, surrounded by an incredible network of lines, like a laboratory maze for studying intelligence in tears. They seemed to know what she wanted, even if she didn't.

"You came to talk about the play," he said. "Let me discourage you. It was written to entertain people. Like horror movies. It isn't literature, it doesn't mean anything. Wharfinger was no Shakespeare." "Who was he?" she said. "Who was Shakespeare. It was a long time ago." "Could I see a script?" She didn't know what she was looking for, exactly. Driblette motioned her over to a file cabinet next to the one shower.

"I'd better grab a shower," he said, "before the Drop-The-Soap crowd get here. Scripts're in the top drawer."

But they were all purple, Dittoed-worn, torn, stained with coffee. Nothing else in the drawer. "Hey," she yelled into the shower. "Where's the original? What did you make these copies from?"

"A paperback," Driblette yelled back. "Don't ask me the publisher. I found it at Zapf's Used Books over by the freeway. It's an anthology, Jacobean Revenge Plays. There was a skull on the cover."

"Could I borrow it?"

"Somebody took it. Opening night parties. I lose at least half a dozen every time." He stuck his head out of the shower. The rest of his body was wreathed in steam, giving his head an eerie, balloon-like buoyancy. Careful, staring at her with deep amusement, he said, "There was another copy there. Zapf might still have it. Can you find the place?"

Something came to her viscera, danced briefly, and went. "Are you putting me on?" For awhile the furrowed eyes only gazed back.

"Why," Driblette said at last, "is everybody so interested in texts?"

"Who else?" Too quickly. Maybe he had only been talking in general.

Driblette's head wagged back and forth. "Don't drag me into your scholarly disputes," adding "whoever you all are," with a familiar smile. Oedipa realized then, cold corpse-fingers of grue on her skin, that it was exactly the same look he'd coached his cast to give each other whenever the subject of the Trystero assassins came up. The knowing look you get in your dreams from a certain unpleasant figure. She decided to ask about this look.

"Was it written in as a stage direction? All those people, so obviously in on something. Or was that one of your touches?"

"That was my own," Driblette told her, "that, and actually bringing the three assassins onstage in the fourth act. Wharfinger didn't show them at all, you know."

"Why did you? Had you heard about them somewhere else?"

"You don't understand," getting mad. "You guys, you're like Puritans are about the Bible. So hung up with words, words. You know where that play exists, not in that file cabinet, not in any paperback you're looking for, but-" a hand emerged from the veil of shower-steam to indicate his suspended head-"in here. That's what I'm for. To give the spirit flesh. The words, who cares? They're rote noises to hold line bashes with, to get past the bone barriers around an actor's memory, right? But the reality is in this head. Mine. I'm the projector at the planetarium, all the closed little universe visible in the circle of that stage is coming out of my mouth, eyes, sometimes other orifices also."

But she couldn't let it quite go. "What made you feel differently than Wharfinger did about this, this Trystero." At the word, Driblette's face abruptly vanished, back into the steam. As if switched off. Oedipa hadn't wanted to; say the word. He had managed to create around it the same aura of ritual reluctance here, offstage, as he had on.

"If I were to dissolve in here," speculated the voice out of the drifting steam, "be washed down the drain into the Pacific, what you saw tonight would vanish too. You, that part of you so concerned, God knows how, with that little world, would also vanish. The only residue in fact would be things Wharfinger didn't lie about. Perhaps Squamuglia and Faggio, if they ever existed. Perhaps the Thurn and Taxis mail system. Stamp collectors tell me it did exist. Perhaps the other, also. The Adversary. But they would be traces, fossils. Dead, mineral, without value or potential.