The Complete Short Stories Read online

  He turned around to see Granger, ten feet below him, up to his knees in the water, staring out carefully across the pool.

  'Did you throw something?' Granger asked.

  Holliday shook his head. 'No.' Without thinking, he added: 'It must have been a fish jumping.'

  'Fish? There isn't a single fish alive on the entire planet. The whole zoological class died out ten years ago. Strange, though.'

  Just then the fish jumped again.

  For a few moments, standing motionless in the half-light, they watched it together, as its slim silver body leapt frantically out of the tepid shallow water, its short glistening arcs carrying it to and fro across the pool.

  'Dog-fish,' Granger muttered. 'Shark family. Highly adaptable - need to be, to have survived here. Damn it, it may well be the only fish still living.'

  Holliday moved down the bank, his feet sinking in the oozing mud. 'Isn't the water too salty?'

  Granger bent down and scooped up some of the water, sipped it tentatively. 'Saline, but comparatively dilute.' He glanced over his shoulder at the lake. 'Perhaps there's continuous evaporation off the lake surface and local condensation here. A freak distillation couple.' He slapped Holliday on the shoulder. 'Holliday, this should be interesting.'

  The dog-fish was leaping frantically towards them, its two-foot body twisting and flicking. Low mud banks were emerging all over the surface of the pool; in only a few places towards the centre was the water more than a foot deep.

  Holliday pointed to the breach in the bank fifty yards away, gestured Granger after him and began to run towards it.

  Five minutes later they had effectively dammed up the breach. Holliday returned for the jeep and drove it carefully through the winding saddles between the pools. He lowered the ramp and began to force the sides of the fish-pool in towards each other. After two or three hours he had narrowed the diameter from a hundred yards to under sixty, and the depth of the water had increased to over two feet. The dog-fish had ceased to jump and swam smoothly just below the surface, snapping at DEEP END 241 the countless small plants which had been tumbled into the water by the jeep's ramp. Its slim white body seemed white and unmarked, the small fins trim and powerful.

  Granger sat on the bonnet of the jeep, his back against the windshield, watching Holliday with admiration.

  'You obviously have hidden reserves,' he said ungrudgingly. 'I didn't think you had it in you.'

  Holliday washed his hands in the water, then stepped over the churned mud which formed the boundary of the pool. A few feet behind him the dog-fish veered and lunged.

  'I want to keep it alive,' Holliday said matter-of-factly. 'Don't you see, Granger, the fishes stayed behind when the first amphibians emerged from the seas two hundred million years ago, just as you and I, in turn, are staying behind now. In a sense all fish are images of ourselves seen in the sea's mirror.'

  He slumped down on the running board. His clothes were soaked and streaked with salt, and he gasped at the damp air. To the west, just above the long bulk of the Florida coastline, rising from the ocean floor like an enormous aircraft carrier, were the first dawn thermal fronts. 'Will it be all right to leave it until this evening?'

  Granger climbed into the driving seat. 'Don't worry. Come on, you need a rest.' He pointed up at the overhanging rim of the launching platform. 'That should shade it for a few hours, help to keep the temperature down.'

  As they neared the town Granger slowed to wave to the old people retreating from their porches, fixing the shutters on the steel cabins.

  'What about your interview with Bullen?' he asked Holliday soberly. 'He'll be waiting for you.'

  'Leave here? After last night? It's out of the question.'

  Granger shook his head as he parked the car outside the Neptune. 'Aren't you rather overestimating the importance of one dog-fish? There were millions of them once, the vermin of the sea.'

  'You're missing the point,' Holliday said, sinking back into the seat, trying to wipe the salt out of his eyes. 'That fish means that there's still something to be done here. Earth isn't dead and exhausted after all. We can breed new forms of life, a completely new biological kingdom.'

  Eyes fixed on this private vision, Holliday sat holding the steering wheel while Granger went into the bar to collect a crate of beer. On his return the migration officer was with him.

  Bullen put a foot on the running board, looked into the car. 'Well, how about it, Holliday? I'd like to make an early start. If you're not interested I'll be off. There's a rich new life out there, first step to the stars. Tom Juranda and the Merryweather boys are leaving next week. Do you want to be with them?'

  'Sorry,' Holliday said curtly. He pulled the crate of beer into the car and let out the clutch, gunned the jeep away down the empty street in a roar of dust.

  Half an hour later, as he stepped out on to the terrace at Idle End, cool and refreshed after his shower, he watched the helicopter roar overhead, its black propeller scudding, then disappear over the kelp flats towards the hull of the wrecked space platform.

  'Come on, let's go! What's the matter?'

  'Hold it,' Granger said. 'You're getting over-eager. Don't interfere too much, you'll kill the damn thing with kindness. What have you got there?' He pointed to the can Holliday had placed in the dashboard compartment.

  'Breadcrumbs.'

  Granger sighed, then gently closed the door. 'I'm impressed. I really am. I wish you'd look after me this way. I'm gasping for air too.'

  They were five miles from the lake when Holliday leaned forward over the wheel and pointed to the crisp tyre-prints in the soft salt flowing over the road ahead.

  'Someone's there already.'

  Granger shrugged. 'What of it? They've probably gone to look at the platform.' He chuckled quietly. 'Don't you want to share the New Eden with anyone else? Or just you alone, and a consultant biologist?'

  Holliday peered through the windshield. 'Those platforms annoy me, the way they're hurled down as if Earth were a garbage dump. Still, if it wasn't for this one I wouldn't have found the fish.'

  They reached the lake and made their way towards the pool, the erratic track of the car ahead winding in and out of the pools. Two hundred yards from the platform it had been parked, blocking the route for Holliday and Granger.

  'That's the Merryweathers' car,' Holliday said as they walked around the big stripped-down Buick, slashed with yellow paint and fitted with sirens and pennants. 'The two boys must have come out here.'

  Granger pointed. 'One of them's up on the platform.'

  The younger brother had climbed on to the rim, was shouting down like an umpire at the antics of two other boys, one his brother, the other Tom Juranda, a tall broad-shouldered youth in a space cadet's jerkin. They were standing at the edge of the fish-pool, stones and salt blocks in their hands, hurling them into the pool.

  Leaving Granger, Holliday sprinted on ahead, shouting at the top of his voice. Too preoccupied to hear him, the boys continued to throw their missiles into the pool, while the younger Merryweather egged them on from the platform above. Just before Holliday reached them Tom Juranda ran a few yards along the bank and began to kick the mud-wall into the air, then resumed his target throwing.

  'Juranda! Get away from there!' Holliday bellowed. 'Put those stones down!'

  He reached Juranda as the youth was about to hurl a brick-sized lump of salt into the pool, seized him by the shoulder and flung him round, knocking the salt out of his hand into a shower of damp crystals, then lunged at the elder Merryweather boy, kicking him away.

  The pool had been drained. A deep breach had been cut through the bank and the water had poured out into the surrounding gulleys and pools. Down in the centre of the basin, in a litter of stones and spattered salt, was the crushed but still wriggling body of the dog-fish, twisting itself helplessly in the bare inch of water that remained. Dark red blood poured from wounds in its body, staining the salt.

  Holliday hurled himself at Juranda, sh
ook the youth savagely by the shoulders.

  'Juranda! Do you realize what you've done, you - 'Exhausted, Holliday released him and staggered down into the centre of the pool, kicked away the stones and stood looking at the fish twitching at his feet.

  'Sorry, Holliday,' the older Merryweather boy said tentatively behind him. 'We didn't know it was your fish.'

  Holliday waved him away, then let his arms fall limply to his sides. He felt numbed and baffled, unable to resolve his anger and frustration.

  Tom Juranda began to laugh, and shouted something derisively. Their tension broken, the bays turned and ran off together across the dunes towards their car, yelling and playing catch with each other, mimicking Holliday's outrage.

  Granger let them go by, then walked across to the pool, wincing when he saw the empty basin.

  'Holliday,' he called. 'Come on.'

  Holliday shook his head, staring at the beaten body of the fish.

  Granger stepped down the bank to him. Sirens hooted in the distance as the Buick roared off. 'Those damn children.' He took Holliday gently by the arm. 'I'm sorry,' he said quietly. 'But it's not the end of the world.'

  Bending down, Holliday reached towards the fish, lying still now, the mud around it slick with blood. His hands hesitated, then retreated.

  'Nothing we can do, is there?' he said impersonally.

  Granger examined the fish. Apart from the large wound in its side and the flattened skull the skin was intact. 'Why not have it stuffed?' he suggested seriously.

  Holliday stared at him incredulously, his face contorting. For a moment he said nothing. Then, almost berserk, he shouted: 'Have it stuffed? Are you crazy? Do you think I want to make a dummy of myself, fill my own head with straw?'

  Turning on his heel, he shouldered past Granger and swung himself roughly out of the pool.

  1961

  The Overloaded Man

  Faulkner was slowly going insane.

  After breakfast he waited impatiently in the lounge while his wife tidied up in the kitchen. She would be gone within two or three minutes, but for some reason he always found the short wait each morning almost unbearable. As he drew the Venetian blinds and readied the reclining chair on the veranda he listened to Julia moving about efficiently. In the same strict sequence she stacked the cups and plates in the dishwasher, slid the pot roast for that evening's dinner into the auto-cooker and selected the alarm, lowered the air-conditioner, refrigerator and immersion heater settings, switched open the oil storage manifolds for the delivery tanker that afternoon, and retracted her section of the garage door.

  Faulkner followed the sequence with admiration, counting off each successive step as the dials clicked and snapped.

  You ought to be in B-52's, he thought, or in the control house of a petrochemicals plant. In fact Julia worked in the personnel section at the Clinic, and no doubt spent all day in the same whirl of efficiency, stabbing buttons marked 'Jones', 'Smith', and 'Brown', shunting paraplegics to the left, paranoids to the right.

  She stepped into the lounge and came over to him, the standard executive product in brisk black suit and white blouse.

  'Aren't you going to the school today?' she asked.

  Faulkner shook his head, played with some papers on the desk. 'No, I'm still on creative reflection. Just for this week. Professor Harman thought I'd been taking too many classes and getting stale.'

  She nodded, looking at him doubtfully. For three weeks now he had been lying around at home, dozing on the veranda, and she was beginning to get suspicious. Sooner or later, Faulkner realized, she would find out, but by then he hoped to be out of reach. He longed to tell her the truth, that two months ago he had resigned from his job as a lecturer at the Business School and had no intention of ever going back. She'd get a damn big surprise when she discovered they had almost expended his last pay cheque, might even have to put up with only one car. Let her work, he thought, she earns more than I did anyway.

  With an effort Faulkner smiled at her. Get out! his mind screamed, but she still hovered around him indecisively.

  'What about your lunch? There's no - '

  'Don't worry about me,' Faulkner cut in quickly, watching the clock. 'I gave up eating six months ago. You have lunch at the Clinic.'

  Even talking to her had become an effort. He wished they could communicate by means of notes; had even bought two scribble pads for this purpose. However, he had never quite been able to suggest that she use hers, although he did leave messages around for her, on the pretext that his mind was so intellectually engaged that talking would break up his thought trains.

  Oddly enough, the idea of leaving her never seriously occurred to him. Such an escape would prove nothing. Besides, he had an alternative plan.

  'You'll be all right?' she asked, still watching him warily.

  'Absolutely,' Faulkner told her, maintaining the smile. It felt like a full day's work.

  Her kiss was quick and functional, like the automatic peck of some huge bottle-topping machine. The smile was still on his face as she reached the door. When she had gone he let it fade slowly, then found himself breathing again and gradually relaxed, letting the tension drain down through his arms and legs. For a few minutes he wandered blankly around the empty house, then made his way into the lounge again, ready to begin his serious work.

  His programme usually followed the same course. First, from the centre drawer of his desk he took a small alarm clock, fitted with a battery and wrist strap. Sitting down on the veranda, he fastened the strap to his wrist, wound and set the clock and placed it on the table next to him, binding his arm to the chair so that there was no danger of dragging the clock onto the floor.

  Ready now, he lay back and surveyed the scene in front of him.

  Menninger Village, or the 'Bin' as it was known locally, had been built about ten years earlier as a self-contained housing unit for the graduate staff of the Clinic and their families. In all there were some sixty houses in the development, each designed to fit into a particular architectonic niche, preserving its own identity from within and at the same time merging into the organic unity of the whole development. The object of the architects, faced with the task of compressing a great number of small houses into a four-acre site, had been, firstly, to avoid producing a collection of identical hutches, as in most housing estates, and secondly, to provide a showpiece for a major psychiatric foundation which would serve as a model for the corporate living units of the future.

  However, as everyone there had found out, living in the Bin was hell on earth. The architects had employed the socalled psycho-modular system - a basic L-design - and this meant that everything under-or overlapped everything else. The whole development was a sprawl of interlocking frosted glass, white rectangles and curves, at first glance exciting and abstract (Life magazine had done several glossy photographic treatments of the new 'living trends' suggested by the Village) but to the people within formless and visually exhausting. Most of the Clinic's senior staff had soon taken off, and the Village was now rented to anyone who could be persuaded to live there.

  Faulkner gazed out across the veranda, separating from the clutter of white geometric shapes the eight other houses he could see without moving his head. On his left, immediately adjacent, were the Penzils, with the McPhersons on the right; the other six houses were directly ahead, on the far side of a muddle of interlocking garden areas, abstract rat-runs divided by waist-high white panelling, glass angle-pieces and slatted screens.

  In the Penzils' garden was a collection of huge alphabet blocks, each three high, which their two children played with. Often they left messages out on the grass for Faulkner to read, sometimes obscene, at others merely gnomic and obscure. This morning's came into the latter category. The blocks spelled out: STOP AND GO Speculating on the total significance of this statement, Faulkner let his mind relax, his eyes staring blankly at the houses. Gradually their already obscured outlines began to merge and fade, and the long balconies and ra
mps partly hidden by the intervening trees became disembodied forms, like gigantic geometric units.

  Breathing slowly, Faulkner steadily closed his mind, then without any effort erased his awareness of the identity of the house opposite.

  He was now looking at a cubist landscape, a collection of random white forms below a blue backdrop, across which several powdery green blurs moved slowly backwards and forwards. Idly, he wondered what these geometric forms really represented - he knew that only a few seconds earlier they had constituted an immediately familiar part of his everyday existence - but however he rearranged them spatially in his mind, or sought their associations, they still remained a random assembly of geometric forms.

  He had discovered this talent only about three weeks ago. Balefully eyeing the silent television set in the lounge one Sunday morning, he had suddenly realized that he had so completely accepted and assimilated the physical form of the plastic cabinet that he could no longer remember its function. It had required a considerable mental effort to recover himself and re-identify it. Out of interest he had tried out the new talent on other objects, found that it was particularly successful with over-associated ones such as washing machines, cars and other consumer goods. Stripped of their accretions of sales slogans and status imperatives, their real claim to reality was so tenuous that it needed little mental effort to obliterate them altogether.

  The effect was similar to that of mescaline and other hallucinogens, under whose influence the dents in a cushion became as vivid as the craters of the moon, the folds in a curtain the ripples in the waves of eternity.

  During the following weeks Faulkner had experimented carefully, training his ability to operate the cut-out switches. The process was slow, but gradually he found himself able to eliminate larger and larger groups of objects, the massproduced furniture in the lounge, the over-enamelled gadgets in the kitchen, his car in the garage - de-identified, it sat in the half-light like an enormous vegetable marrow, flaccid and gleaming; trying to identify it had driven him almost out of his mind. 'What on earth could it possibly be?' he had asked himself helplessly, splitting his sides with laughter - and as the facility developed he had dimly perceived that here was an escape route from the intolerable world in which he found himself at the Village.