"And this, and this, and this, and this!"
The night watchman tells all there is to tell.
Their shadows run ahead in narrow alleys, and avenues as broad as rivers made of stone and sand.
They make a great talking circle; they hurry all around and back to where they started.
They are quiet again. The old man is quiet from having said what there was to say, and the producer is quiet from listening and remembering and fitting it all together in his mind. He stands, absent-mindedly fumbling for his cigarette case. It takes him a full minute to open it, examining every action, thinking about it, and to offer the case to the watchman.
"Thanks."
They light up thoughtfully. They puff on their cigarettes and watch the smoke blow away.
Douglas says, "Where's that damned hammer of yours?"
"Here," says Smith.
"You got your nails with you?"
"Yes, sir."
Douglas takes a deep drag on his cigarette and exhales. "Okay, Smith, get to work."
"What?"
"You heard me. Nail what you can back up, on your own time. Most of the stuff that's already torn down is a complete loss. But any bits and pieces that fit and will look decent, put 'em together. Thank God there's a lot still standing. It took me a long time to get it through my head. A man with a nose for business and some imagination, you said. This is the world, you said. I should have seen it years ago. Here it all is inside the fence, and me too blind to see what could be done with it. The World Federation in my own back yard and me kicking it over. So help me God, we need more crazy people and night watchmen."
"You know," says the night watchman, "I'm getting old and I'm getting strange. You wouldn't be fooling an old and a strange man, would you?"
"I'll make no promises I can't keep," says the producer. "I'll only promise to try. There's a good chance we can go ahead. It would make a beautiful film, there's no doubt of that. We could make it all here, inside the fence, photograph it ten ways from Christmas. There's no doubt about a story, either. You provided it. It's yours. It wouldn't be hard to put some writers to work on it. Good writers. Perhaps only a short subject, twenty minutes, but we could show all the cities and countries here, leaning on and holding each other up. I like the idea. I like it very much, believe me. We could show a film like that to anyone anywhere in the world and they'd like it. They couldn't pass it up, it would be too important."
"It's good to hear you talk this way."
"I hope I keep on talking this way," says the producer. "I can't be trusted. I don't trust myself. Hell, I get excited, up one day, down the next. Maybe you'll have to hit me on the head with that hammer to keep me going."
"I'd be pleased," says Smith.
"And so we do the film," says the younger man, "I suppose you could help. You know the sets, probably better than anyone. Any suggestions you might want to make, we'd be glad to have. Then, after we do the film, I suppose you won't mind letting us tear the rest of the world down, right?"
"I'd give my permission," says the watchman.
"Well, I'll call off the hounds for a few days and see what happens. Send out a camera crew tomorrow to see what we can line up for shots. Send out some writers. Maybe you can all gab. Hell, hell. We'll work it out." Douglas turns toward the gate. "In the meantime, use your hammer all you want. I'll be seeing you. My God, I'm freezing!"
They hurry toward the gate. On the way, the old man finds his lunch box where he abandoned it some hours ago. He picks it up, takes out the thermos, and shakes it. "How about a drink before you go?"
"What've you got? Some of that amontillado you were yelling about?"
"1876."
"Let's have some of that, sure."
The thermos is opened and the liquid poured steaming from it into the cup.
"There you are," says the old man.
"Thanks. Here's to you." The producer drinks. "That's good. Ah, that's damned good!"
"It might taste like coffee, but I tell you it's the finest amontillado ever put under a cork."
"You can say that again."
The two of them stand among the cities of the world in the moonlight, drinking the hot drink, and the old man remembers something: "There's an old song fits here, a drinking song, I think, a song that all of us who five inside the fence sing, when we're of a mind, when I listen right, and the wind's just right in the telephone wires. It goes like this:
"We all go the same way home, All the same collection, in the same direction, All go the same way home. So there's no need to part at all, And well all cling together like the ivy on the old garden wall . . !'
They finish drinking the coffee in the middle of Port-au-Prince.
"Hey!" says the producer suddenly. "Take it easy with that cigarette! You want to burn down the whole dam world?"
They both look at the cigarette and smile.
"I'll be careful," says Smith.
"So long," says the producer. "I'm really late for that party."
"So long, Mr. Douglas."
The gate hasp clicks open and shut, the footsteps die away, the limousine starts up and drives off in the moonlight, leaving behind the cities of the world and an old man standing in the middle of these cities of the world, raising his hand to wave.
"So long," says the night watchman.
And then there is only the wind.
19 THE GARBAGE COLLECTOR
This is how his work was: he got up at five in the cold dark morning and washed his face with warm water if the heater was working and cold water if the heater was not working. He shaved carefully, talking out to his wife in the kitchen, who was fixing ham and eggs or pancakes or whatever it was that morning. By six o'clock he was driving on his way to work alone, and parking his car in the big yard where all the other men parked their cars as the sun was coming up. The colors of the sky that time of morning were orange and blue and violet and sometimes very red and sometimes yellow or a clear color like water on white rock. Some mornings he could see his breath on the air and some mornings he could not. But as the sun was still rising he knocked his fist on the side of the green truck, and his driver, smiling and saying hello, would climb in the other side of the truck and they would drive out into the great city and go down all the streets until they came to the place where they started work. Sometimes, on the way, they stopped for black coffee and then went on, the warmness in them. And they began the work which meant that he jumped off in front of each house and picked up the garbage cans and brought them back and took off their fids and knocked them against the bin edge, which made the orange peels and cantaloupe rinds and coffee grounds fall out and thump down and begin to fill the empty truck. There were always steak bones and the heads of fish and pieces of green onion and stale celery. If the garbage was new it wasn't so bad, but if it was very old it was bad. He was not sure if he liked the job or not, but it was a job and he did it well, talking about it a lot at some times and sometimes not thinking of it in any way at all. Some days the job was wonderful, for you were out early and the air was cool and fresh until you had worked too long and the sun got hot and the garbage steamed early. But mostly it was a job significant enough to keep him busy and calm and looking at the houses and cut lawns he passed by and seeing how everybody lived. And once or twice a month he was surprised to find that he loved the job and that it was the finest job in the world.
It went on just that way for many years. And then suddenly the job changed for him. It changed in a single day. Later he often wondered how a job could change so much in such a few short hours.
He walked into the apartment and did not see his wife or hear her voice, but she was there, and he walked to a chair and let her stand away from him, watching him as he touched the chair and sat down in it without saying a word. He sat there for a long time.
"What's wrong?" At last her voice came through to him. She must have said it three or four times.
"Wrong?" He looked at this woman and yes, it was his wi
fe all right, it was someone he knew, and this was their apartment with the tall ceilings and the worn carpeting.
"Something happened at work today," he said.
She waited for him.
"On my garbage truck, something happened." His tongue moved dryly on his lips and his eyes shut over his seeing until there was all blackness and no light of any sort and it was like standing alone in a room when you got out of bed in the middle of a dark night. "I think I'm going to quit my job. Try to understand."
"Understand!" she cried.
"It can't be helped. This is all the strangest damned thing that ever happened to me in my life." He opened his eyes and sat there, his hands feeling cold when he rubbed his thumb and forefingers together. "The thing that happened was strange."
"Well, don't just sit there!"
He took part of a newspaper from the pocket of his leather jacket. "This is today's paper," he said. "December 10, 1951. Los Angeles Times. Civil Defense Bulletin. It says they're buying radios for our garbage trucks."
"Well, what's so bad about a little music?"
"No music. You don't understand. No music."
He opened his rough hand and drew with one clean fingernail, slowly, trying to put everything there where he could see it and she could see it. "In this article the mayor says they'll put sending and receiving apparatus on every garbage truck in town." He squinted at his hand. "After the atom bombs hit our city, those radios will talk to us. And then our garbage trucks will go pick up the bodies."
"Well, that seems practical. When—"
"The garbage trucks," he said, "go out and pick up all the bodies."
"You can't just leave bodies around, can you? You've got to take them and—" His wife shut her mouth very slowly. She blinked, one time only, and she did this very slowly also. He watched that one slow blink of her eyes. Then, with a turn of her body, as if someone else had turned it for her, she walked to a chair, paused, thought how to do it, and sat down, very straight and stiff. She said nothing.
He listened to his wrist watch ticking, but with only a small part of his attention.
At last she laughed. "They were joking!"
He shook his head. He felt his head moving from left to right and from right to left, as slowly as everything else had happened. "No. They put a receiver on my truck today. They said, at the alert, if you're working, dump your garbage anywhere. When we radio you, get in there and haul out the dead."
Some water in the kitchen boiled over loudly. She let it boil for five seconds and then held^ the arm of the chair with one hand and got up and found the door and went out. The boiling sound stopped. She stood in the door and then walked back to where he still sat, not moving, his head in one position only.
"It's all blueprinted out. They have squads, sergeants, captains, corporals, everything," he said. "We even know where to bring the bodies."
"So you've been thinking about it all day," she said.
"All day since this morning. I thought: Maybe now I don't want to be a garbage collector any more. It used to be Tom and me had fun with a kind of game. You got to do that. Garbage is bad. But if you work at it you can make a game. Tom and me did that. We watched people's garbage. We saw what kind they had. Steak bones in rich houses, lettuce and orange peel in poor ones. Sure it's silly, but a guy's got to make his work as good as he can and worth while or why in hell do it? And you're your own boss, in a way, on a truck. You get out early in the morning and it's an outdoor job, anyway; you see the sun come up and you see the town get up, and that's not bad at all. But now, today, all of a sudden it's not the kind of job for me any more."
His wife started to talk swiftly. She named a lot of things and she talked about a lot more, but before she got very far he cut gently across her talking. "I know, I know, the kids and school, our car, I know," he said. "And bills and money and credit. But what about that farm Dad left us? Why can't we move there, away from cities? I know a little about farming. We could stock up, hole in, have enough to live on for months if anything happened."
She said nothing.
"Sure, all of our friends are here in town," he went on reasonably. "And movies and shows and the kids' friends, and . . ."
She took a deep breath. "Can't we think it over a few more days?"
"I don't know. I'm afraid of that. I'm afraid if I think it over, about my truck and my new work, I'll get used to it. And, oh Christ, it just doesn't seem right a man, a human being, should ever let himself get used to any idea like that."
She shook her head slowly, looking at the windows, the gray walls, the dark pictures on the walls. She tightened her hands. She started to open her mouth.
"I'll think tonight," he said. "I'll stay up awhile. By morning I'll know what to do."
"Be careful with the children. It wouldn't be good, their knowing all this."
"I'll be careful."
"Let's not talk any more, then. I'll finish dinner!" She jumped up and put her hands to her face and then looked at her hands and at the sunlight in the windows. "Why, the kids'll be home any minute."
"I'm not very hungry."
"You got to eat, you just got to keep on going." She hurried off, leaving him alone in the middle of a room where not a breeze stirred the curtains, and only the gray ceiling hung over him with a lonely bulb unlit in it, like an old moon in a sky. He was quiet. He massaged his face with both hands. He got up and stood alone in the dining-room door and walked forward and felt himself sit down and remain seated in a dining-room chair. He saw his hands spread on the white tablecloth, open and empty.
"All afternoon," he said, "I've thought."
She moved through the kitchen, rattling silverware, crashing pans against the silence that was everywhere.
"Wondering," he said, "if you put the bodies in the trucks lengthwise or endwise, with the heads on the right, or the feet on the right. Men and women together, or separated? Children in one truck, or mixed with men and women? Dogs in special trucks, or just let them lay? Wondering how many bodies one garbage truck can hold. And wondering if you stack them on top of each other and finally knowing you must just have to. I can't figure it. I can't work it out. I try, but there's no guessing, no guessing at all how many you could stack in one single truck."
He sat thinking of how it was late in the day at his work, with the truck full and the canvas pulled over the great bulk of garbage so the bulk shaped the canvas in an uneven mound. And how it was if you suddenly pulled the canvas back and looked in. And for a few seconds you saw the white things like macaroni or noodles, only the white things were alive and boiling up, millions of them. And when the white things felt the hot sun on them they simmered down and burrowed and were gone in the lettuce and the old ground beef and the coffee grounds and the heads of white fish. After ten seconds of sunlight the white things that looked like noodles or macaroni were gone and the great bulk of garbage silent and not moving, and you drew the canvas over the bulk and looked at how the canvas folded unevenly over the hidden collection, and underneath you knew it was dark again, and things beginning to move as they must always move when things got dark again.
He was still sitting there in the empty room when the front door of the apartment burst wide. His son and daughter rushed in, laughing, and saw him sitting there, and stopped.
Their mother ran to the kitchen door, held to the edge of it quickly, and stared at her family. They saw her face and they heard her voice:
"Sit down, children, sit down!" She lifted one hand and pushed it toward them. "You're just in time."
20 THE GREAT FIRE
The morning the great fire started, nobody in the house could put it out. It was Mother's niece, Marianne, living with us while her parents were in Europe, who was all aflame. So nobody could smash the little window in the red box at the comer and pull the trigger to bring the gushing hoses and the hatted firemen. Blazing like so much ignited cellophane, Marianne came downstairs, plumped herself with a loud cry or moan at the breakfast table, and re
fused to eat enough to fill a tooth cavity.
Mother and Father moved away, the warmth in the room being excessive.
"Good morning, Marianne."
"What?" Marianne looked beyond people and spoke vaguely. "Oh, good morning."
"Did you sleep well last night, Marianne?"
But they knew she hadn't slept. Mother gave Marianne a glass of water to drink, and everyone wondered if it would evaporate in her hand. Grandma, from her table chair, surveyed Marianne's fevered eyes. "You're sick, but it's no microbe," she said. "They couldn't find it under a microscope."
"What?" said Marianne.
"Love is godmother to stupidity," said Father detachedly.
"She'll be all right," Mother said to Father. "Girls only seem stupid because when they're in love they can't hear."
"It affects the semicircular canals," said Father. "Making many girls fall right into a fellow's arms. I know. I was almost crushed to death once by a falling woman, and let me tell you—"
"Hush." Mother frowned, looking at Marianne.
"She can't hear what we're saying; she's cataleptic right now."
*'He's coming to pick her up this morning," whispered Mother to Father, as if Marianne wasn't even in the room. "They're going riding in his jalopy."
Father patted his mouth with a napkin. "Was our daughter like this. Mama?" he wanted to know. "She's been married and gone so long, I've forgotten. I don't recall she was so foolish. One would never know a girl had an ounce of sense at a time like this. That's what fools a man. He says. Oh, what a lovely brainless girl, she loves me, I think I'U marry her. He marries her and wakes up one morning and all the dreaminess is gone out of her and her intellect has returned, unpacked, and is hanging up undies all about the house. The man begins running into ropes and lines. He finds himself on a little desert isle, a little living room alone in the midst of a universe, with a honeycomb that has turned into a bear trap, with a butterfly metamorphosed into a wasp. He then immediately takes up a hobby: stamp collecting, lodge meetings, or—"
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