Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself. The Night of the Long Knives by Fritz Leiber (feel good fiction books TXT) 📖
- Author: Fritz Leiber
Book online «The Night of the Long Knives by Fritz Leiber (feel good fiction books TXT) 📖». Author Fritz Leiber
Alice was beside me now, scanning things over too, and from the way she frowned and what not I gathered she had caught my hunch and also shared my puzzlement.
Now was the time, all right, when we needed an instruction manual and not one in Chinese neither!
Pop swallowed a mouthful and said, "Yep, now'd be a good time to have him back for a minute, to explain things a bit. Oh, don't take offense, Ray, I know how it was for you and for you too, Alice. I know the both of you had to murder him, it wasn't a matter of free choice, it's the way us Deathlanders are built. Just the same, it'd be nice to have a way of killing 'em and keeping them on hand at the same time. I remember feeling that way after murdering the Alamoser I told you about. You see, I come down with the very fever I'd faked and almost died of it, while the man who could have cured me easy wouldn't do nothing but perfume the landscape with the help of a gang of anaerobic bacteria. Stubborn single-minded cuss!"
The first part of that oration started up my sickness again and irked me not a little. Dammit, what right had Pop to talk about how all us Deathlanders had to kill (which was true enough and by itself would have made me cotton to him) if as he'd claimed earlier he'd been able to quit killing? Pop was, an old hypocrite, I told myself—he'd helped murder the Pilot, he'd admitted as much—and Alice and me'd be better off if we bedded the both of them down together. But then the second part of what Pop said so made me want to feel pleasantly sorry for myself and laugh at the same time that I forgave the old geezer. Practically everything Pop said had that reassuring touch of insanity about it.
So it was Alice who said, "Shut up, Pop"—and rather casually at that—and she and me went on to speculate and then to argue about which buttons we ought to push, if any and in what order.
"Why not just start anywhere and keep pushing 'em one after another?—you're going to have to eventually, may as well start now," was Pop's light-hearted contribution to the discussion. "Got to take some chances in this life." He was sitting in the back seat and still nibbling away like a white-topped mangy old squirrel.
Of course Alice and me knew more than that. We kept making guesses as to how the buttons worked and then backing up our guesses with hot language. It was a little like two savages trying to decide how to play chess by looking at the pieces. And then the old escape-to-paradise theme took hold of us again and we studied the colored blobs on the World screen, trying to decide which would have the fanciest accommodations for blase ex-murderers. On the North America screen too there was an intriguing pink patch in southern Mexico that seemed to take in old Mexico City and Acapulco too.
"Quit talking and start pushing," Pop prodded us. "This way you're getting nowhere fast. I can't stand hesitation, it riles my nerves."
Alice thought you ought to push ten buttons at once, using both hands, and she was working out patterns for me to try. But I was off on a kick about how we should darken the plane to see if any of the other buttons glowed beside the one with the Atla-Hi violet.
"Look here, you killed a big man to get this plane," Pop broke in, coming up behind me. "Are you going to use it for discussion groups or are you going to fly it?"
"Quiet," I told him. I'd got a new hunch and was using the dark glasses to scan the instrument panel. They didn't show anything.
"Dammit, I can't stand this any more," Pop said and reached a hand and arm between us and brought it down on about fifty buttons, I'd judge.
The other buttons just went down and up, but the Atla-Hi button went down and stayed down.
The violet blob of Atla-Hi on the screen got even brighter in the next few moments.
The door closed with a tiny thud.
We took off.
CHAPTER 4Any man who deals in murder, must have very incorrect ways of thinking, and truly inaccurate principles.
—Thomas de Quincey in
Murder Considered as One of the Fine Arts
For that matter we took off fast with the plane swinging to beat hell. Alice and me was in the two kneeling seats and we hugged them tight, but Pop was loose and sort of rattled around the cabin for a while—and serve him right!
On one of the swings I caught a glimpse of the seven dented gas tanks, looking like dull crescents from this angle through the orange haze and getting rapidly smaller as they hazed out.
After a while the plane levelled off and quit swinging, and a while after that my image of the cabin quit swinging too. Once again I just managed to stave off the vomits, this time the vomits from natural causes. Alice looked very pale around the gills and kept her face buried in the chinrest of her chair.
Pop ended up right in our faces, sort of spread-eagled against the instrument panel. In getting himself off it he must have braced his hands against half the buttons at one time or another and I noticed that none of them went down a fraction. They were locked. It had probably happened automatically when the Atla-Hi button got pushed.
I'd have stopped him messing around in that apish way, but with the ultra-queasy state of my stomach I lacked all ambition and was happy just not to be smelling him so close.
I still wasn't taking too great an interest in things as I idly watched the old geezer rummaging around the cabin for something that got misplaced in the shake-up. Eventually he found it—a small almond-shaped can. He opened it. Sure enough it turned out to have almonds in it. He fitted himself in the back seat and munched them one at a time. Ish!
"Nothing like a few nuts to top off with," he said cheerfully.
I could have cut his throat even more cheerfully, but the damage had been done and you think twice before you kill a person in close quarters when you aren't absolutely sure you'll be able to dispose of the body. How did I know I'd be able to open the door? I remember philosophizing that Pop ought at least to have broke an arm so he'd be as badly off as Alice and me (though for that matter my right arm was fully recovered now) but he was all in one piece. There's no justice in events, that's for sure.
The plane ploughed along silently through the orange soup, though there was really no way to tell it was moving now—until a skewy spindle shape loomed up ahead and shot back over the viewport. I think it was a vulture. I don't know how vultures manage to operate in the haze, which ought to cancel their keen eyesight, but they do. It shot past fast.
Alice lifted her face out of the sponge stuff and began to study the buttons again. I heaved myself up and around a little and said, "Pop, Alice and me are going to try to work out how this plane navigates. This time we don't want no interference." I didn't say a word more about what he'd done. It never does to hash over stupidities.
"That's perfectly fine, go right ahead," he told me. "I feel calm as a kitten now we're going somewheres. That's all that ever matters with me." He chuckled a bit and added, "You got to admit I gave you and Alice something to work with," but then he had the sense to shut up tight.
We weren't so chary of pushing buttons this time, but ten minutes or so convinced us that you couldn't push any of the buttons any more, they were all locked down—all locked except for maybe one, which we didn't try at first for a special reason.
We looked for other controls—sticks, levers, pedals, finger-holes and the like. There weren't any. Alice went back and tried the buttons on Pop's minor console. They were locked too. Pop looked interested but didn't say a word.
We realized in a general way what had happened, of course. Pushing the Atla-Hi button had set us on some kind of irreversible automatic. I couldn't imagine the why of gimmicking a plane's controls like that, unless maybe to keep loose children or prisoners from being able to mess things up while the pilot took a snooze, but there were a lot of whys to this plane that didn't seem to have any standard answers.
The business of taking off on irreversible automatic had happened so neatly that I naturally wondered whether Pop might not know more about navigating this plane than he let on, a whole lot more in fact, and the seemingly idiotic petulance of his pushing all the buttons have been a shrewd cover for pushing the Atla-Hi button. But if Pop had been acting he'd been acting beautifully, with a serene disregard for the chances of breaking his own neck. I decided this was a possibility I could think about later and maybe act on then, after Alice and me had worked through the more obvious stuff.
The reason we hadn't tried the one button yet was that it showed a green nimbus, just like the Atla-Hi button had had a violet nimbus. Now there was no green on either of the screens except for the tiny green star that I had figured stood for the plane and it didn't make sense to go where we already were. And if it meant some other place, some place not shown on the screens, you bet we weren't going to be too quick about deciding to go there. It might not be on Earth.
Alice expressed it by saying, "My namesake was always a little too quick at responding to those DRINK ME cues."
I suppose she thought she was being cryptic, but I fooled her. "Alice in Wonderland?" I asked. She nodded, and gave me a little smile, not at all like one of the EAT ME smiles she'd given me last evening.
It is funny how crazily happy a little touch of the intellectual past like that can make you feel—and how horribly uncomfortable a moment later.
We both started to study the North America screen again and almost at once we realized that it had changed in one small particular. The green star had twinned. Where there had been one point of green light there were now two, very close together like the double star in the handle of the Dipper. We watched it for a while. The distance between the two stars grew perceptibly greater. We watched it for a while longer, considerably longer. It became clear that the position of the more westerly star on the screen was fixed, while the more easterly star was moving east toward Atla-Hi with about the speed of the tip of the minute hand on a wrist watch (two inches an hour, say). The pattern began to make sense.
I figured it this way: the moving star must stand for the plane, the other green dot must stand for where the plane had just been. For some reason the spot on the freeway by the old cracking plant was recognized as a marked locality by the screen. Why I don't know. It reminded me of the old "X Marks the Spot" of newspaper murders, but that would be getting very fancy. Anyway the spot we'd just taken off from was so marked and in that case the button with the green nimbus ...
"Hold tight, everybody," I said to Alice, grudgingly including Pop in my warning. "I got to try it."
I gripped my seat with my knees and one arm and pushed the green button. It pushed.
The plane swung around in a level loop, not too tight to disturb the stomach much, and steadied out again.
I couldn't judge how far we'd swung but Alice and me watched the green stars and after about a minute she said, "They're getting closer," and a little while later I said, "Yeah, for sure."
I scanned the board. The green button—the cracking-plant button, to call it that—was locked down of course. The Atla-Hi button was up, glowing violet. All the other buttons were still up and locked up—I tried them all again.
It was clear as day used to be. We could either go to Atla-Hi or we could go back where we'd started from. There was no third possibility.
It was a little hard to take. You think of a plane as freedom, as something that will carry you anywhere in the world you choose to go, especially any paradise, and then you find yourself worse limited than if you'd stayed on the ground—at least that was the way it was happening to us.
But Alice and me were realists. We knew it wouldn't help to wail. We were up against another of those "two" problems, the problem of two destinations, and we had to choose ours.
If we go back, I thought, we can trek on somewhere—anywhere—richer by the loot from the plane, especially that Survival Kit. Trek on with some loot we'll mostly never understand and with the knowledge that we are leaving a plane that can fly, that we are shrinking back from an unknown adventure.
Also if we go back there's something else we'll have to face, something we'll have to live with for a little while at least that won't be nice to live with after this cozily personal cabin, something that shouldn't bother me at all but, dammit, it does.
Alice made the decision for us and at the same time showed she was thinking about the same thing as me.
"I don't want to have to smell him, Ray," she said. "I am not going back to keep company with that filthy corpse. I'd
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