by Ray Bradbury
Beatty smiled. "Here or there, that's bound to occur. Clarisse McClellan? We've a record on her family. We've watched them carefully. Heredity and environment are funny things. You can't rid yourselves of all the odd ducks in just a few years. The home environment can undo a lot you try to do at school. That's why we've lowered the kindergarten age year after year until now we're almost snatching them from the cradle. We had some false alarms on the McClellans, when they lived in Chicago. Never found a book. Uncle had a mixed record; antisocial. The girl? She was a time bomb. The family had been feeding her subconscious, I'm sure, from what I saw of her school record. She didn't want to know how a thing was done, but why. That can be embarrassing. You ask Why to a lot of things and you wind up very unhappy indeed, if you keep at it. The poor girl's better off dead."
"Yes, dead."
"Luckily, queer ones like her don't happen often. We know how to nip most of them in the bud, early. You can't build a house without nails and wood. If you don't want a house built, hide the nails and wood. If you don't want a man unhappy politically, don't give him two sides to a question to worry him; give him one. Better yet, give him none. Let him forget there is such a thing as war. If the government is inefficient, top-heavy, and tax-mad, better it be all those than that people worry over it. Peace, Montag. Give the people contests they win by remembering the words to more popular songs or the names of state capitals or how much corn Iowa grew last year. Cram them full of noncombustible data, chock them so damned full of 'facts' they feel stuffed, but absolutely 'brilliant' with information. Then they'll feel they're thinking, they'll get a sense of motion without moving. And they'll be happy, because facts of that sort don't change. Don't give them any slippery stuff like philosophy or sociology to tie things up with. That way lies melancholy. Any man who can take a TV wall apart and put it back together again, and most men can, nowadays, is happier than any man who tries to slide rule, measure, and equate the universe, which just won't be measured or equated without making man feel bestial and lonely. I know, I've tried it; to hell with it. So bring on your clubs and parties, your acrobats and magicians, your daredevils, jet cars, motorcycle helicopters, your sex and heroin, more of everything to do with automatic reflex. If the drama is bad, if the film says nothing, if the play is hollow, sting me with the Theremin, loudly. I'll think I'm responding to the play, when it's only a tactile reaction to vibration. But I don't care. I just like solid entertainment."
Beatty got up. "I must be going. Lecture's over. I hope I've clarified things. The important thing for you to remember, Montag, is we're the Happiness Boys, the Dixie Duo, you and I and the others. We stand against the small tide of those who want to make everyone unhappy with conflicting theory and thought. We have our fingers in the dike. Hold steady. Don't let the torrent of melancholy and drear philosophy drown our world. We depend on you. I don't think you realize how important you are, we are, to our happy world as it stands now."
Beatty shook Montag's limp hand. Montag still sat, as if the house were collapsing about him and he could not move, in the bed. Mildred had vanished from the door.
"One last thing," said Beatty. "At least once in his career, every fireman gets an itch. What do the books say, he wonders. Oh, to scratch that itch, eh? Well, Montag, take my word for it, I've had to read a few in my time, to know what I was about, and the books say nothing! Nothing you can teach or believe. They're about nonexistent people, figments of imagination, if they're fiction. And if they're nonfiction, it's worse, one professor calling another an idiot, one philosopher screaming down another's gullet. All of them running about, putting out the stars and extinguishing the sun. You come away lost."
"Well, then, what if a fireman accidentally, really not intending anything, takes a book home with him?"
Montag twitched. The open door looked at him with its great vacant eye.
"A natural error. Curiosity alone," said Beatty. "We don't get overanxious or mad. We let the fireman keep the book twenty-four hours. If he hasn't burned it by then, we simply come burn it for him."
"Of course." Montag's mouth was dry.
"Well, Montag. Will you take another, later shift, today? Will we see you tonight perhaps?"
"I don't know," said Montag.
"What?" Beatty looked faintly surprised.
Montag shut his eyes. "I'll be in later. Maybe."
"We'd certainly miss you if you didn't show," said Beatty, putting his pipe in his pocket thoughtfully.
I'll never come in again, thought Montag.
"Get well and keep well," said Beatty.
He turned and went out through the open door.
Montag watched through the window as Beatty drove away in his gleaming yellow-flame-colored beetle with the black, char-colored tires.
Across the street and down the way the other houses stood with their flat fronts. What was it Clarisse had said one afternoon? "No front porches. My uncle says there used to be front porches. And people sat there sometimes at night, talking when they wanted to talk, rocking, and not talking when they didn't want to talk. Sometimes they just sat there and thought about things, turned things over. My uncle says the architects got rid of the front porches because they didn't look well. But my uncle says that was merely rationalizing it; the real reason, hidden underneath, might be they didn't want people sitting like that, doing nothing, rocking, talking; that was the wrong kind of social life. People talked too much. And they had time to think. So they ran off with the porches. And the gardens, too. Not many gardens anymore to sit around in. And look at the furniture. No rocking chairs anymore. They're too comfortable. Get people up and running around. My uncle says. . . and . . . my uncle . . . and . . . my uncle . . ." Her voice faded.
Montag turned and looked at his wife, who sat in the middle of the parlor talking to an announcer, who in turn was talking to her. "Mrs. Montag," he was saying. This, that, and the other. "Mrs. Montag--" Something else and still another. The converter attachment, which had cost them one hundred dollars, automatically supplied her name whenever the announcer addressed his anonymous audience, leaving a blank where the proper syllables could be filled in. A special spot-wavex-scrambler also caused his televised image, in the area immediately about his lips, to mouth the vowels and consonants beautifully. He was a friend, no doubt of it, a good friend. "Mrs. Montag--now look right here."
Her head turned. Though she quite obviously was not listening.
Montag said, "It's only a step from not going to work today to not working tomorrow, to not working at the firehouse ever again."
"You are going to work tonight, though, aren't you?" said Mildred.
"I haven't decided. Right now I've got an awful feeling I want to smash things and kill things."
"Go take the beetle."
"No, thanks."
"The keys to the beetle are on the night table. I always like to drive fast when I feel that way. You get it up around ninety-five and you feel wonderful. Sometimes I drive all night and come back and you don't know it. It's fun out in the country. You hit rabbits, sometimes you hit dogs. Go take the beetle."
"No, I don't want to, this time. I want to hold onto this funny thing. God, it's gotten big on me. I don't know what it is. I'm so damned unhappy, I'm so mad, and I don't know why. I feel like I'm putting on weight. I feel fat. I feel like I've been saving up a lot of things, and don't know what. I might even start reading books."
"They'd put you in jail, wouldn't they?" She looked at him as if he were behind the glass wall.
He began to put on his clothes, moving restlessly about the bedroom. "Yes, and it might be a good idea. Before I hurt someone. Did you hear Beatty? Did you listen to him? He knows all the answers. He's right. Happiness is important. Fun is everything. And yet I kept sitting there saying to myself, I'm not happy, I'm not happy."
"I am." Mildred's mouth beamed. "And proud of it."
"I'm going to do something," said Montag. "I don't even know what yet, but I'm going to do something big."<
br />
"I'm tired of listening to this junk," said Mildred, turning from him to the announcer again.
Montag touched the volume control in the wall and the announcer was speechless.
"Millie?" He paused. "This is your house as well as mine. I feel it's only fair that I tell you something now. I should have told you before, but I wasn't even admitting it to myself. I have something I want you to see, something I've put away and hid during the past year, now and again, once in a while, I didn't know why, but I did it and I never told you."
He took hold of a straight-backed chair and moved it slowly and steadily into the hall near the front door and climbed up on it and stood for a moment like a statue on a pedestal, his wife standing under him, waiting. Then he reached up and pulled back the grill of the air-conditioning system and reached far back inside to the right and moved still another sliding sheet of metal and took out a book. Without looking at it he dropped it to the floor. He put his hand back up and took out two books and moved his hand down and dropped the two books to the floor. He kept moving his hand and dropping books, small ones, fairly large ones, yellow, red, green ones. When he was done he looked down upon some twenty books lying at his wife's feet.
"I'm sorry," he said. "I didn't really think. But now it looks as if we're in this together."
Mildred backed away as if she were suddenly confronted by a pack of mice that had come up out of the floor. He could hear her breathing rapidly and her face was paled out and her eyes were fastened wide. She said his name over, twice, three times. Then, moaning, she ran forward, seized a book and ran toward the kitchen incinerator.
He caught her, shrieking. He held her and she tried to fight away from him, scratching.
"No, Millie, no! Wait! Stop it, will you? You don't know . . . stop it!" He slapped her face, he grabbed her again and shook her.
She said his name and began to cry.
"Millie!" he said. "Listen. Give me a second, will you? We can't do anything. We can't burn these. I want to look at them, at least look at them once. Then if what the Captain says is true, we'll burn them together, believe me, we'll burn them together. You must help me." He looked down into her face and took hold of her chin and held her firmly. He was looking not only at her, but for himself and what he must do, in her face. "Whether we like this or not, we're in it. I've never asked for much from you in all these years, but I ask it now, I plead for it. We've got to start somewhere here, figuring out why we're in such a mess, you and the medicine nights, and the car, and me and my work. We're heading right for the cliff, Millie. God, I don't want to go over. This isn't going to be easy. We haven't anything to go on, but maybe we can piece it out and figure it and help each other. I need you so much right now, I can't tell you. If you love me at all you'll put up with this, twenty-four, forty-eight hours, that's all I ask, then it'll be over, I promise, I swear! And if there is something here, just one little thing out of a whole mess of things, maybe we can pass it on to someone else."
She wasn't fighting any more, so he let her go. She sagged away from him and slid down the wall, and sat on the floor looking at the books. Her foot touched one and she saw this and pulled her foot away.
"That woman, the other night, Millie, you weren't there. You didn't see her face. And Clarisse. You never talked to her. I talked to her. And men like Beatty are afraid of her. I can't understand it. Why should they be so afraid of someone like her? But I kept putting her alongside the firemen in the House last night, and I suddenly realized I didn't like them at all, and I didn't like myself at all any more. And I thought maybe it would be best if the firemen themselves were burnt."
"Guy!"
The front door voice called softly:
"Mrs. Montag, Mrs. Montag, someone here, someone here, Mrs. Montag, Mrs. Montag, someone here."
Softly.
They turned to the stare at the door and the books toppled everywhere, everywhere in heaps.
"Beatty!" said Mildred.
"It can't be him."
"He's come back!" she whispered.
The front door voiced called again softly. "Someone here. . . ."
"We won't answer." Montag lay back against the wall and then slowly sank to a crouching position and began to nudge the books, bewilderedly, with his thumb, his forefinger. He was shivering and he wanted above all to shove the books up through the ventilator again, but he knew he could not face Beatty again. He crouched and then he sat and the voice of the front door spoke again, more insistently. Montag picked a single small volume from the floor. "Where do we begin?" He opened the book halfway and peered at it. "We begin by beginning, I guess."
"He'll come in," said Mildred, "and burn us and the books!"
The front door voice faded at last. There was a silence. Montag felt the presence of someone beyond the door, waiting, listening. Then the footsteps going away down the walk and over the lawn.
"Let's see what this is," said Montag.
He spoke the words haltingly and with a terrible self-consciousness. He read a dozen pages here or there and came at last to this: " 'It is computed, that eleven thousand persons have at several times suffered death rather than submit to break their eggs at the smaller end.' "
Mildred sat across the hall from him. "What does it mean? It doesn't mean anything! The Captain was right!"
"Here now," said Montag. "We'll start over again, at the beginning."
two
The Sieve and the Sand
They read the long afternoon through, while the cold November rain fell from the sky upon the quiet house. They sat in the hall because the parlor was so empty and gray-looking without its wall lit with orange and yellow confetti and skyrockets and women in gold-mesh dresses and men in black velvet pulling one-hundred-pound rabbits from silver hats. The parlor was dead and Mildred kept peering in at it with a blank expression as Montag paced the floor and came back and squatted down and read a page as many as ten times, aloud.
" 'We cannot tell the precise moment when friendship is formed. As in filling a vessel drop by drop, there is at last a drop which makes it run over; so in a series of kindnesses there is at least one which makes the heart run over.' "
Montag sat listening to the rain.
"Is that what it was in the girl next door? I've tried so hard to figure."
"She's dead. Let's talk about someone alive, for goodness' sake."
Montag did not look back at his wife as he went trembling along the hall to the kitchen, where he stood a long time watching the rain hit the windows before he came back down the hall in the gray light, waiting for the tremble to subside.
He opened another book.
"'That favorite subject, Myself.'"
He squinted at the wall. " 'That favorite subject, Myself.'"
"I understand that one," said Mildred.
"But Clarisse's favorite subject wasn't herself. It was everyone else, and me. She was the first person in a good many years I've really liked. She was the first person I can remember who looked straight at me as if I counted." He lifted the two books. "These men have been dead a long time, but I know their words point, one way or another, to Clarisse."
Outside the front door, in the rain, a faint scratching.
Montag froze. He saw Mildred thrust herself back to the wall and gasp.
"Someone--the door--why doesn't the door-voice tell us--
"I shut it off."
Under the doorsill, a slow, probing sniff, an exhalation of electric steam.
Mildred laughed. "It's only a dog, that's what! You want me to shoo him away?"
"Stay where you are!"
Silence. The cold rain falling. And the smell of blue electricity blowing under the locked door.
"Let's get back to work," said Montag quietly.
Mildred kicked at a book. "Books aren't people. You read and I look all around, but there isn't anybody!"
He stared at the parlor that was dead and gray as the waters of an ocean that might teem with life if they switched
on the electronic sun.
"Now," said Mildred, "my 'family' is people. They tell me things; I laugh, they laugh! And the colors!"
"Yes, I know."
"And besides, if Captain Beatty knew about those books--" She thought about it. Her face grew amazed and then horrified. "He might come and burn the house and the 'family.' That's awful! Think of our investment. Why should I read? What for?"
"What for! Why!" said Montag. "I saw the damnedest snake in the world the other night. It was dead but it was alive. It could see but it couldn't see. You want to see that snake? It's at Emergency Hospital where they filed a report on all the junk the snake got out of you! Would you like to go and check their file? Maybe you'd look under Guy Montag or maybe under Fear or War. Would you like to go to that house that burnt last night? And rake ashes for the bones of the woman who set fire to her own house! What about Clarisse McClellan, where do we look for her? The morgue! Listen!"
The bombers crossed the sky and crossed the sky over the house, gasping, murmuring, whistling like an immense, invisible fan, circling in emptiness.
"Jesus God," said Montag. "Every hour so many damn things in the sky! How in hell did those bombers get up there every single second of our lives! Why doesn't someone want to talk about it! We've started and won two atomic wars since 2022! Is it because we're having so much fun at home we've forgotten the world? Is it because we're so rich and the rest of the world's so poor and we just don't care if they are? I've heard rumors; the world is starving, but we're well fed. Is it true, the world works hard and we play? Is that why we're hated so much? I've heard the rumors about hate, too, once in a long while, over the years. Do you know why? I don't, that's sure! Maybe the books can get us half out of the cave. They just might stop us from making the same damn insane mistakes! I don't hear those idiot bastards in your parlor talking about it. God, Millie, don't you see? An hour a day, two hours, with these books, and maybe . . ."
The telephone rang. Mildred snatched the phone.
"Ann!" She laughed. "Yes, the White Clown's on tonight!"
Montag walked to the kitchen and threw the book down. "Montag," he said, "you're really stupid. Where do we go from here? Do we turn the books in, forget it?" He opened the book to read over Mildred's laughter.
