Just darkness for a while then, darkness and silence, broken only by the faint rustling of clothing.
Finally her voice again: “So now I got my pictures back, Emmy. All the original negatives, you might say, for you can’t make prints of them or second negatives—I don’t think. Or is there a way of making prints of them, Emmy-duplicate women? It’s not worth letting you answer—you’d be bound to say yes to scare me.
“What do we do with you now, Emmy? I know what you’d do to me if you had the chance, for you’ve done it already. You’ve kept parts of me—no, five real me’s—tucked away in envelopes for a long time, something to take out and look at or run through your hand or twist around a finger or crumple in a ball, whenever you felt bored on a long afternoon or an endless night. Or maybe show off to special friends or even give other girls to wear—you didn’t think I knew about that trick, did you, Emmy?—I hope I poisoned them, I hope I made them burn! Remember, Emmy, I’m full of death-wish now, five ghosts of it. Yes, Emmy, what do we do with you now?”
Then, for the first time since the ghosts had shown, I heard the sound of Dr. Slyker’s breath whistling through his nose and the muffled grunts and creakings as he lurched against the clinging sheet.
“Makes you think, doesn’t it, Emmy? I wish I’d asked my ghosts what to do with you when I had the chance—I wish I’d known how to ask them. They’d have been the ones to decide. Now they’re too mixed in
“We’ll let the other girls decide—the other ghosts. I’ll trust their judgment. Do your ghosts love you, Emmy?”
I heard the click of her heels followed by soft rushes ending in thuds—the file drawers being yanked open. Slyker got noisier
“You don’t think they love you, Emmy? Or they do but their way of showing affection won’t be exactly comfortable, or safe? We’ll see.”
The heels clicked again for a few steps. “And now, music. The fourth button, Emmy?” There came again those sensual, spectral chords that opened the “Ghostgirls Pavan.” and this time they led gradually into a music that seemed to twirl and spin, very slowly and with a lazy grace, the music of space, the music of free fall. It made easier the slow breathing that meant life to me
I became aware of dim fountains. Each file drawer was outlined by a phosphorescent glow shooting upward
Over the edge of one drawer a pale hand flowed It slipped back, but there was another, and another
The music strengthened, though spinning still more lazily, and out of the phosphorescence-edged parallelogram of the file drawers there began to pour, swiftly now, pale streams of womankind. Ever-changing faces that were gossamer masks of madness, drunkenness, desire, and hate; arms like a flood of serpents; bodies that writhed, convulsed, yet flowed like milk by moonlight.
They swirled out in a circle like slender clouds in a ring, a spinning circle that dipped close to me, inquisitively, a hundred strangely slitted eyes seeming to peer.
The spinning forms brightened. By their light I began to see Dr. Slyker, the lower part of his face tight with the transparent plastic, only the nostrils flaring and the bulging eyes switching their gaze about, his arms tight to his sides.
The first spiral of the ring speeded up and began to tighten around his head and neck. He was beginning to twirl slowly on his tiny chair, as if he were a fly caught in the middle of a web and being spun in a cocoon by the spider. His face was alternately obscured and illuminated by the bright smoky forms swinging past it. It looked as if he was being strangled by his own cigarette smoke in a film run backward.
His face began to darken as the glowing circle tightened against him.
Once more there was utter darkness.
Then a whirring click and a tiny shower of sparks, three times repeated, then a tiny blue flame. It moved and stopped and moved, leaving behind it more silent tiny flames, yellow ones. They grew. Evelyn was systematically setting fire to the files.
I knew it might be curtains for me, but I shouted—it came out as a kind of hiccup—and my breath was instantly cut off as the valves in the gag closed.
But Evelyn turned. She had been bending close over Emil’s chest and the light from the growing flames highlighted her smile. Through the dark red mist that was closing in on my vision I saw the flames begin to leap from one drawer after another. There was a sudden low roar, like film or acetate shavings burning.
Suddenly Evelyn reached across the desk and touched a button. As I started to red out, I realized that the gag was off, the clamps were loose.
I floundered to my feet, pain stabbing my numbed muscles. The room was full of flickering brightness under a dirty cloud bulging from the ceiling. Evelyn had jerked the transparent sheet off Slyker and was crumpling it up. He started to fall forward, very slowly. Looking at me, she said, “Tell Jeff he’s dead.” But before Slyker hit the floor, she was out the door. I took a step-toward Slyker, felt the stinging heat of the flames. My legs were like shaky stilts as I made for the door. As I steadied myself on the jamb I took a last look back, then lurched on.
There wasn’t a light in the corridor. The glow of the flames behind me helped a little.
The top of the elevator was dropping out of sight as I reached the shaft. I took the stairs. It was a painful descent. As I trotted out of the building—it was the best speed I could manage—I heard sirens coming. Evelyn must have put in a call—or one of her “friends,” though not even Jeff Crain was able to tell me more about them: who her chemist was and who were the Arain—it’s an old word for spider, but that leads nowhere. I don’t even know how she knew I was working for Jeff; Evelyn Cordew is harder than ever to see and I haven’t tried. I don’t believe even Jeff’s seen her; though I’ve sometimes wondered if I wasn’t used as a cat’s-paw.
I’m keeping out of it—just as I left it to the firemen to discover Dr. Emil Slyker “suffocated by smoke” from a fire in his “weird” private office, a fire, which it was reported did little more than char the furniture and burn the contents of his files and the tapes of his hi fi.
I think a little more was burned. When I looked back the last time I saw the Doctor lying in a strait jacket of pale flames. It may have been scattered papers or the electronic plastic. I think it was ghostgirls burning.
<
~ * ~
DAMON KNIGHT
As writer, critic, and editor (currently of If), Damon Knight has had much to do with formulating serious criteria for modern science fiction. He also occasionally sets up less sternly sober standards. . . .
ERIPMAV
On the planet Veegl, in the Fomalhaut system, we found a curious race of cellulose vampires. The Veeglians, like all higher life on their world, are plants; the Veeglian vampire, needless to say, is a sapsucker.
One of the native clerks in our trade mission, a plant-girl named Xixl, had been complaining of lassitude and showing an unhealthy pink color for some weeks. The girl’s parent stock suspected vampirism; we were skeptical, but had to admit that the two green-tinged punctures at the base of her axis were evidence of something wrong.
Accordingly, we kept watch over her sleep-box for three nights running. (The Veeglians sleep in boxes of soil, built of heavy slabs of the hardmeat tree, or woogl; they look rather like coffins.) On the third night, sure enough, a translator named Ffengl, a hefty, blue-petaled fellow, crept into her room and bent over the sleep-box.
We rushed out at the blackguard, but he turned quick as a wink and fairly flew up the whitemeat stairs. (The flesh of Veegl’s only animal life, the “meat-trees,” or oogl, petrifies rapidly in air and is much used for construction.) We found him in an unsuspected vault at the very top of the old building, trying to hide under the covers of an antique burial bed. It was an eery business. We sizzled him with blasts from our proton guns, and yet to the end, with unVeeglian vitality, he was struggling to reach us with his tendrils.
Afterward he seemed dead enough, but the local wise-heads advised us to take certain precautions.
So we bu
ried him with a steak through his heart.
<
~ * ~
BRIAN W. ALDISS
The only excuse that American publishers can offer for not bringing out a volume of Brian Aldiss’ short stories, already collected in England, is that every month of delay means a richer crop to choose from. For this young Englishman keeps getting even better, as he exhibits (especially in this story) a sheer zest for writing hardly matched in our field since the early days of Ray Bradbury.
POOR LITTLE WARRIOR!
Claude Ford knew exactly how it was to hunt a brontosaurus. You crawled heedlessly through the mud among the willows, through the little primitive flowers with petals as green and brown as a football field, through the beauty-lotion mud. You peered out at the creature sprawling among the reeds, its body as graceful as a sock full of sand. There it lay, letting the gravity cuddle it nappy-damp to the marsh, running its big rabbit-hole nostrils a foot above the grass in a sweeping semicircle, in a snoring search for more sausagy reeds. It was beautiful: here horror had reached its limits, come full circle and finally disappeared up its own sphincter. Its eyes gleamed with the liveliness of a week-dead corpse’s big toe, and its compost breath and the fur in its crude aural cavities were particularly to be recommended to anyone who might otherwise have felt inclined to speak lovingly of the work of Mother Nature.
But as you, little mammal with opposed digit and .65 self-loading, semi-automatic, dual-barrelled, digitally-computed, telescopically sighted, rustless, high-powered rifle gripped in your otherwise-defenceless paws, slide along under the bygone willows, what primarily attracts you is the thunder lizard’s hide. It gives off a smell as deeply resonant as the bass note of a piano. It makes the elephant’s epidermis look like a sheet of crinkled lavatory paper. It is grey as the Viking seas, draught-deep as cathedral foundations. What contact possible to bone could allay the fever of that flesh? Over it scamper—you can see them from here!—the little brown lice that live in those grey walls and canyons, gay as ghosts, cruel as crabs. If one of them jumped on you, it would very like break your back. And when one of those parasites stops to cock its leg against one of the bronto’s vertebrae, you can see it carries in its turn its own crop of easy-livers, each as big as a lobster, for you’re near now, oh, so near that you can hear the monster’s primitive heart-organ knocking, as the ventricle keeps miraculous time with the auricle.
Time for listening to the oracle is past: you’re beyond the stage for omens, you’re now headed in for the kill, yours or his; superstition has had its little day for today, from now on only this windy nerve of yours, this shaky conglomeration of muscle entangled untraceably beneath the sweat-shiny carapace of skin, this bloody little urge to slay the dragon, is going to answer all your orisons.
You could shoot now. Just wait till that tiny steam-shovel head pauses once again to gulp down a quarry-load of bulrushes, and with one inexpressibly vulgar bang you can show the whole indifferent Jurassic world that it’s standing looking down the business end of evolution’s sex-shooter. You know why you pause, even as you pretend not to know why you pause; that old worm conscience, long as a baseball pitch, long-lived as a tortoise, is at work; through every sense it slides, more monstrous than the serpent. Through the passions: saying here is a sitting duck, O Englishman! Through the intelligence: whispering that boredom, the kite-hawk who never feeds, will settle again when the task is done. Through the nerves: sneering that when the adrenalin currents cease to flow the vomiting begins. Through the maestro behind the retina: plausibly forcing the beauty of the view upon you.
Spare us that poor old slipper-slopper of a word, beauty; holy mum, is this a travelogue, nor are we out of it? ‘Perched now on this titanic creature’s back, we see a round dozen—and folks, let me stress that round—of gaudily plumaged birds, exhibiting between them all the colour you might expect to find on lovely, fabled Copacabana Beach. They‘re so round because they feed from the droppings that fall from the rich man’s table. Watch this lovely shot now! See the bronto’s tail lift. . . Oh, lovely, yep, a couple of hyrinksful at least emerging from his nether end. That sure was a beauty, folks, delivered straight from consumer to consumer. The birds are fighting over it now. Hey, you, there’s enough to go round, and anyhow, you’re round enough already . . . And nothing to do now but hop back up onto the old rump steak and wait for the next round. And now as the sun sinks in the Jurassic West, we say ‘ ‘Fare well on that diet
No, you’re procrastinating, and that’s a life work. Shoot the beast and put it out of your agony. Taking your courage in your hands, you raise it to shoulder level and squint down its sights. There is a terrible report; you are half stunned. Shakily, you look about you. The monster still munches, relieved to have broken enough wind to unbecalm the Ancient Mariner.
Angered (or is it some subtler emotion?), you now burst from the bushes and confront it, and this exposed condition is typical of the straits into which your consideration for yourself and others continually pitches you. Consideration? Or again something subtler? Why should you be confused just because you come from a confused civilisation? But that’s a point to deal with later, if there is a later, as these two hog-wallow eyes pupilling you all over from spitting distance tend to dispute. Let it not be by jaws alone, O monster, but also by huge hooves and, if convenient to yourself, by mountainous rollings upon me! Let death be a saga, sagacious, Beowulfate.
Quarter of a mile distant is the sound of a dozen hippos springing boisterously in gymslips from the ancestral mud, and next second a walloping great tail as long as Sunday and as thick as Saturday night comes slicing over your head. You duck as duck you must, but the beast missed you anyway because it so happens that its coordination is no better than yours would be if you had to wave the Woolworth Building at a tarsier. This done, it seems to feel it has done its duty by itself. It forgets you. You just wish you could forget yourself as easily; that was, after all, the reason you had to come the long way here. Get Away From It All, said the time travel brochure, which meant for you getting away from Claude Ford, a husbandman as futile as his name with a terrible wife called Maude. Maude and Claude Ford. Who could not adjust to themselves, to each other, or to the world they were born in. It was the best reason in the as-it-is-at-present-constituted world for coming back here to shoot giant saurians—if you were fool enough to think that one hundred and fifty million years either way made an ounce of difference to the muddle of thoughts in a man’s cerebral vortex.
You try to stop your silly, slobbering thoughts, but they have never really stopped since the cocacollaborating days of your growing up; God, if adolescence did not exist it would be unnecessary to invent it! Slightly, it steadies you to look again on the enormous bulk of this tyrant vegetarian into whose presence you charged with such a mixed death-life wish, charged with all the emotion the human orga(ni)sm is capable of. This time the bogeyman is real, Claude, just as you wanted it to be, and this time you really have to face up to it before it turns and faces you again. And so again you lift Ole Equaliser, waiting till you can spot the vulnerable spot.
The bright birds sway, the lice scamper like dogs, the marsh groans, as bronto sways over and sends his little cranium snaking down under the bile-bright water in a forage for roughage. You watch this; you have never been so jittery before in all your jittered life, and you are counting on this catharsis wringing the last drop of acid fear out of your system for ever. OK, you keep saying to yourself insanely over and over, your million-dollar twenty-second-century education going for nothing, OK, OK. And as you say it for the umpteenth time, the crazy head comes back out of the water like a renegade express and gazes in your direction.
Grazes in your direction. For as the champing jaw with its big blunt molars like concrete posts works up and down, you see the swamp water course out over rimless lips, lipless rims, splashing your feet and sousing the ground. Reed and root, stalk and stem, leaf and loam, all are intermittently visible in that masticati
ng maw and, struggling, straggling or tossed among them, minnows, tiny crustaceans, frogs—all destined in that awful, jawful movement to turn into bowel movement. And as the glump-glump-glumping takes place, above it the slime-resistant eyes again survey you.
These beasts live up to two hundred years, says the time travel brochure, and this beast has obviously tried to live up to that, for its gaze is centuries old, full of decades upon decades of wallowing in its heavyweight thoughtlessness until it has grown wise on twitterpatedness. For you it is like looking into a disturbing misty pool; it gives you a psychic shock, you fire off both barrels at your own reflection. Bang-bang, the dum-dums, big as paw-paws, go.
With no indecision, those century-old lights, dim and sacred, go out. These cloisters are closed till Judgement Day. Your reflection is torn and bloodied from them forever. Over their ravaged panes nictitating membranes slide slowly upwards, like dirty sheets covering a cadaver. The jaw continues to munch slowly, as slowly the head sinks down. Slowly, a squeeze of cold reptile blood toothpastes down the wrinkled flank of one cheek. Everything is slow, a creepy Secondary Era slowness like the drip of water, and you know that if you had been in charge of creation you would have found some medium less heart-breaking than Time to stage it all in.
The Best from Fantasy & Science Fiction 8 - [Anthology] Page 11
