He smiled thinly at me. ‘Circuits are a little worn. Nothing serious, we’ll replace them on contract. Some of the previous owners were show-business people, had an over-simplified view of the full life.’
I nodded, walking on to the balcony which ringed the wide sunken lounge. It was a beautiful room all right, with opaque plastex walls and white fluo-glass ceiling, but something terrible had happened there. As it responded to me, the ceiling lifted slightly and the walls grew less opaque, reflecting my perspective-seeking eye. I noticed that curious mottled knots were forming where the room had been strained and healed faultily. Hidden rifts began to distort the sphere, ballooning out one of the alcoves like a bubble of over-extended gum.
Stamers tapped my elbow.
‘Lively responses, aren’t they, Mr Talbot?’ He put his hand on the wall behind us. The plastex swam and whirled like boiling toothpaste, then extruded itself into a small ledge. Stamers sat down on the lip, which quickly expanded to match the contours of his body, providing back and arm rests. ‘Sit down and relax, Mr Talbot, let yourself feel at home here.’
The seat cushioned up around me like an enormous white hand, and immediately the walls and ceiling quietened – obviously Stamers’s first job was to get his clients off their feet before their restless shuffling could do any damage. Someone living there must have put in a lot of anguished pacing and knuckle-cracking.
‘Of course, you’re getting nothing but custom-built units here,’ Stamers said. ‘The vinyl chains in this plastex were handcrafted literally molecule by molecule.’
I felt the room shift around me. The ceiling was dilating and contracting in steady pulses, an absurdly exaggerated response to our own respiratory rhythms, but the motions were over-layed by sharp transverse spasms, feed-back from some cardiac ailment.
The house was not only frightened of us, it was seriously ill. Somebody, Dmitri Shochmann perhaps, overflowing with self-hate, had committed an appalling injury to himself, and the house was recapitulating its previous response. I was about to ask Stamers if the suicide party had been staged here when he sat up and looked around fretfully.
At the same time my ears started to sing. Mysteriously, the air pressure inside the lounge was building up, gusts of old grit whirling out into the hallway towards the exit.
Stamers was on his feet, the seat telescoping back into the wall.
‘Er, Mr Talbot, let’s stroll around the garden, give you the feel of –’
He broke off, face creased in alarm. The ceiling was only five feet above our heads, contracting like a huge white bladder.
‘– explosive decompression,’ Stamers finished automatically, taking my arm. ‘I don’t understand this,’ he muttered as we ran out into the hallway, the air whooshing past us.
I had a shrewd idea what was happening, and sure enough we found Fay peering into the control console, swinging the volume tabs.
Stamers dived past her. We were almost dragged back into the lounge as the ceiling began its outward leg and sucked the air in through the doorway. He reached the emergency panel and switched the house off.
Wide-eyed, he buttoned his shirt. ‘That was close, Mrs Talbot, really close.’ He gave a light hysterical laugh.
As we walked back to the car, the giant spheres resting among the weeds, he said: ‘Well, Mr Talbot, it’s a fine property. A remarkable pedigree for a house only eight years old. An exciting challenge, you know, a new dimension in living.’
I gave him a weak smile. ‘Maybe, but it’s not exactly us, is it?’
We had come to Vermilion Sands for two years, while I opened a law office in downtown Red Beach twenty miles away. Apart from the dust, smog and inflationary prices of real estate in Red Beach, a strong motive for coming out to Vermilion Sands was that any number of potential clients were mouldering away there in the old mansions – forgotten movie queens, lonely impresarios and the like, some of the most litigious people in the world. Once installed, I could make my rounds of the bridge tables and dinner parties, tactfully stimulating a little righteous will-paring and contract-breaking.
However, as we drove down Stellavista on our inspection tour I wondered if we’d find anywhere suitable. Rapidly we went through a mock Assyrian ziggurat (the last owner had suffered from St Vitus’s Dance, and the whole structure still jittered like a galvanized Tower of Pisa), and a converted submarine pen (here the problem had been alcoholism, we could feel the gloom and helplessness come down off those huge damp walls).
Finally Stamers gave up and brought us back to earth. Unfortunately his more conventional properties were little better. The real trouble was that most of Vermilion Sands is composed of early, or primitive-fantastic psychotropic, when the possibilities offered by the new bio-plastic medium rather went to architects’ heads. It was some years before a compromise was reached between the one hundred per cent responsive structive and the rigid non-responsive houses of the past. The first PT houses had so many senso-cells distributed over them, echoing every shift of mood and position of the occupants, that living in one was like inhabiting someone else’s brain.
Unluckily bioplastics need a lot of exercise or they grow rigid and crack, and many people believe that PT buildings are still given unnecessarily subtle memories and are far too sensitive – there’s the apocryphal story of the millionaire of plebian origins who was literally frozen out of a million-dollar mansion he had bought from an aristocratic family. The place had been trained to respond to their habitual rudeness and bad temper, and reacted discordantly when readjusting itself to the millionaire, unintentionally parodying his soft-spoken politeness.
But although the echoes of previous tenants can be intrusive, this naturally has its advantages. Many medium-priced PT homes resonate with the bygone laughter of happy families, the relaxed harmony of a successful marriage. It was something like this that I wanted for Fay and myself. In the previous year our relationship had begun to fade a little, and a really well-integrated house with a healthy set of reflexes – say, those of a prosperous bank president and his devoted spouse – would go a long way towards healing the rifts between us.
Leafing through the brochures when we reached the end of Stellavista I could see that domesticated bank presidents had been in short supply at Vermilion Sands. The pedigrees were either packed with ulcer-ridden, quadri-divorced TV executives, or discreetly blank.
99 Stellavista was in the latter category. As we climbed out of the car and walked up the short drive I searched the pedigree for data on the past tenants, but only the original owner was given: a Miss Emma Slack, psychic orientation unstated.
That it was a woman’s house was obvious. Shaped like an enormous orchid, it was set back on a low concrete dais in the centre of a blue gravel court. The white plastex wings, which carried the lounge on one side and the master bedroom on the other, spanned out across the magnolias on the far side of the drive. Between the two wings, on the first floor, was an open terrace around a heart-shaped swimming-pool. The terrace ran back to the central bulb, a three-storey segment containing the chauffeur’s apartment and a vast two-decker kitchen.
The house seemed to be in good condition. The plastex was unscarred, its thin seams running smoothly to the far rim like the veins of a giant leaf.
Curiously, Stamers was in no hurry to switch on. He pointed to left and right as we made our way up the glass staircase to the terrace, underlining various attractive features, but made no effort to find the control console, and I suspected that the house might be a static conversion – a fair number of PT houses are frozen in one or other position at the end of their working lives, and make tolerable static homes.
‘It’s not bad,’ I admitted, looking across the powder-blue water as Stamers piled on the superlatives. Through the glass bottom of the pool the car parked below loomed like a coloured whale asleep on the ocean bed. ‘This is the sort of thing, all right. But what about switching it on?’
Stamers stepped around me and headed after Fay. ‘You’
ll want to see the kitchen first, Mr Talbot. There’s no hurry, let yourself feel at home here.’
The kitchen was fabulous, banks of gleaming control panels and auto units. Everything was recessed and stylized, blending into the over-all colour scheme, complex gadgets folding back into self-sealing cabinets. Boiling an egg there would have taken me a couple of days.
‘Quite a plant,’ I commented. Fay wandered around in a daze of delight, automatically fingering the chrome. ‘Looks as if it’s tooled up to produce penicillin.’ I tapped the brochure. ‘But why so cheap? At twenty-five thousand it’s damn nearly being given away.’
Stamers’s eyes brightened. He flashed me a broad conspiratorial smile which indicated that this was my year, my day. Taking me off on a tour of the rumpus room and library, he began to hammer home the merits of the house, extolling his company’s thirty-five year, easy-purchase plan (they wanted anything except cash – there was no money in that) and the beauty and simplicity of the garden (mostly flexible polyurethane perennials).
Finally, apparently convinced that I was sold, he switched the house on.
I didn’t know then what it was, but something strange had taken place in that house. Emma Slack had certainly been a woman with a powerful and oblique personality. As I walked slowly around the empty lounge, feeling the walls angle and edge away, doorways widen when I approached, curious echoes stirred through the memories embedded in the house. The responses were undefined, but somehow eerie and unsettling, like being continually watched over one’s shoulder, each room adjusting itself to my soft, random footsteps as if they contained the possibility of some explosive burst of passion or temperament.
Inclining my head, I seemed to hear other echoes, delicate and feminine, a graceful swirl of movement reflected in a brief, fluid sweep in one corner, the decorous unfolding of an archway or recess.
Then, abruptly, the mood would invert, and the hollow eeriness return.
Fay touched my arm. ‘Howard, it’s strange.’
I shrugged. ‘Interesting, though. Remember, our own responses will overlay these within a few days.’
Fay shook her head. ‘I couldn’t stand it, Howard. Mr Stamers must have something normal.’
‘Darling, Vermilion Sands is Vermilion Sands. Don’t expect to find the suburban norms. People here were individualists.’
I looked down at Fay. Her small oval face, with its childlike mouth and chin, the fringe of blonde hair and pert nose, seemed lost and anxious.
I put my arm around her shoulder. ‘O.K., sweetie, you’re quite right. Let’s find somewhere we can put our feet up and relax. Now, what are we going to say to Stamers?’
Surprisingly, Stamers didn’t seem all that disappointed. When I shook my head he put up a token protest but soon gave in and switched off the house.
‘I know how Mrs Talbot feels,’ he conceded as we went down the staircase. ‘Some of these places have got too much personality built into them. Living with someone like Gloria Tremayne isn’t too easy.’
I stopped, two steps from the bottom, a curious ripple of recognition running through my mind.
‘Gloria Tremayne? I thought the only owner was a Miss Emma Slack.’
Stamers nodded. ‘Yes. Gloria Tremayne. Emma Slack was her real name. Don’t say I told you, though everybody living around here knows it. We keep it quiet as long as we can. If we said Gloria Tremayne no one would even look at the place.’
‘Gloria Tremayne,’ Fay repeated, puzzled. ‘She was the movie star who shot her husband, wasn’t she? He was a famous architect – Howard, weren’t you on that case?’
As Fay’s voice chattered on I turned and looked up the staircase towards the sun-lounge, my mind casting itself back ten years to one of the most famous trials of the decade, whose course and verdict were as much as anything else to mark the end of a whole generation, and show up the irresponsibilities of the world before the Recess. Even though Gloria Tremayne had been acquitted, everyone knew that she had cold-bloodedly murdered her husband, the architect Miles Vanden Starr. Only the silver-tongued pleading of Daniel Hammett, her defence attorney, assisted by a young man called Howard Talbot, had saved her. I said to Fay, ‘Yes, I helped to defend her. It seems a long time ago. Angel, wait in the car. I want to check something.’
Before she could follow me I ran up the staircase on to the terrace and closed the glass double doors behind me. Inert and unresponsive now, the white walls rose into the sky on either side of the pool. The water was motionless, a transparent block of condensed time, through which I could see the drowned images of Fay and Stamers sitting in the car, like an embalmed fragment of my future.
For three weeks, during her trial ten years earlier, I sat only a few feet from Gloria Tremayne, and like everyone else in that crowded courtroom I would never forget her mask-like face, the composed eyes that examined each of the witnesses as they gave their testimony – chauffeur, police surgeon, neighbours who heard the shots – like a brilliant spider arraigned by its victims, never once showing any emotion or response. As they dismembered her web, skein by skein, she sat impassively at its centre, giving Hammett no encouragement, content to repose in the image of herself (‘The Ice Face’) projected across the globe for the previous fifteen years.
Perhaps in the end this saved her. The jury were unable to outstare the enigma. To be honest, by the last week of the trial I had lost all interest in it. As I steered Hammett through his brief, opening and shutting his red wooden suitcase (the Hammett hallmark, it was an excellent jury distractor) whenever he indicated, my attention was fixed completely on Gloria Tremayne, trying to find some flaw in the mask through which I could glimpse her personality. I suppose that I was just another naive young man who had fallen in love with a myth manufactured by a thousand publicity agents, but for me the sensation was the real thing, and when she was acquitted the world began to revolve again.
That justice had been flouted mattered nothing. Hammett, curiously, believed her innocent. Like many successful lawyers he had based his career on the principle of prosecuting the guilty and defending the innocent – this way he was sure of a sufficiently high proportion of successes to give him a reputation for being brilliant and unbeatable. When he defended Gloria Tremayne most lawyers thought he had been tempted to depart from principle by a fat bribe from her studio, but in fact he volunteered to take the case. Perhaps he, too, was working off a secret infatuation.
Of course, I never saw her again. As soon as her next picture had been safely released her studio dropped her. Later she briefly reappeared on a narcotics charge after a car smash, and then disappeared into a limbo of alcoholics hospitals and psychiatric wards. When she died five years afterwards few newspapers gave her more than a couple of lines.
Below, Stamers sounded the horn. Leisurely I retraced my way through the lounge and bedrooms, scanning the empty floors, running my hands over the smooth plastex walls, bracing myself to feel again the impact of Gloria Tremayne’s personality. Blissfully, her presence would be everywhere in the house, a thousand echoes of her distilled into every matrix and senso-cell, each moment of emotion blended into a replica more intimate than anyone, apart from her dead husband, could ever know. The Gloria Tremayne with whom I had become infatuated had ceased to exist, but this house was the shrine that entombed the very signatures of her soul.
To begin with everything went quietly. Fay remonstrated with me, but I promised her a new mink wrap out of the savings we made on the house. Secondly, I was careful to keep the volume down for the first few weeks, so that there would be no clash of feminine wills. A major problem of psychotropic houses is that after several months one has to increase the volume to get the same image of the last owner, and this increases the sensitivity of the memory cells and their rate of contamination. At the same time, magnifying the psychic underlay emphasizes the cruder emotional ground-base. One begins to taste the lees rather than the distilled cream of the previous tenancy. I wanted to savour the quintessence of Gloria Tre
mayne as long as possible so I deliberately rationed myself, turning the volume down during the day while I was out, then switching on only those rooms in which I sat in the evenings.
Right from the outset I was neglecting Fay. Not only were we both preoccupied with the usual problems of adjustment faced by every married couple moving into a new house – undressing in the master bedroom that first night was a positive honeymoon debut all over again – but I was completely immersed in the exhilarating persona of Gloria Tremayne, exploring every alcove and niche in search of her.
In the evenings I sat in the library, feeling her around me in the stirring walls, hovering nearby as I emptied the packing cases like an attendant succubus. Sipping my Scotch while night closed over the dark blue pool, I carefully analysed her personality, deliberately varying my moods to evoke as wide a range of responses. The memory cells in the house were perfectly bonded, never revealing any flaws of character, always reposed and self-controlled. If I leapt out of my chair and switched the stereogram abruptly from Stravinsky to Stan Kenton to the MJQ, the room adjusted its mood and tempo without effort.
And yet how long was it before I discovered that there was another personality present in that house, and began to feel the curious eeriness Fay and I had noticed as soon as Stamers switched the house on? Not for a few weeks, when the house was still responding to my star-struck idealism. While my devotion to the departed spirit of Gloria Tremayne was the dominant mood, the house played itself back accordingly, recapitulating only the more serene aspects of Gloria Tremayne’s character.
Soon, however, the mirror was to darken.
It was Fay who broke the spell. She quickly realized that the initial responses were being overlayed by others from a more mellow and, from her point of view, more dangerous quarter of the past. After doing her best to put up with them she made a few guarded attempts to freeze Gloria out, switching the volume controls up and down, selecting the maximum of bass lift – which stressed the masculine responses – and the minimum of alto lift.
Vermilion Sands Page 18
