ldred's laughter.
Poor Millie, he thought. Poor Montag, it's mud to you, too. But where do you get help, where do you find a teacher this late?
Hold on. He shut his eyes. Yes, of course. Again he found himself thinking of the green park a year ago. The thought had been with him many times recently but now he remembered how it was that day in the city park when he had seen that old man in the black suit hide something, quickly, in his coat.
. . . The old man leapt up as if to run. And Montag said, "Wait!"
"I haven't done anything!" cried the old man, trembling.
"No one said you did."
They had sat in the green soft light without saying a word for a moment and then Montag talked about the weather and then the old man responded with a pale voice. It was a strange quiet meeting. The old man admitted to being a retired English professor who had been thrown out upon the world forty years ago when the last liberal arts college shut for lack of students and patronage. His name was Faber, and when he finally lost his fear of Montag, he talked in a cadenced voice, looking at the sky and the trees and the green park, and when an hour had passed he said something to Montag and Montag sensed it was a rhymeless poem. Then the old man grew even more courageous and said something else and that was a poem, too. Faber held his hand over his left coat pocket and spoke these words gently, and Montag knew if he reached out, he might pull a book of poetry from the man's coat. But he did not reach out. His hands stayed on his knees, numbed and useless. "I don't talk things, sir," said Faber. "I talk the meaning of things. I sit here and know I'm alive."
That was all there was to it, really. An hour of monologue, a poem, a comment, and then without either acknowledging the fact that Montag was a fireman, Faber, with a certain trembling, wrote his address on a slip of paper. "For your file," he said, "in case you decide to be angry with me."
"I'm not angry," Montag said, surprised.
Mildred shrieked with laughter in the hall.
Montag went to his bedroom closet and flipped through his file-wallet to the heading: FUTURE INVESTIGATIONS (?). Faber's name was there. He hadn't turned it in and he hadn't erased it.
He dialed the call on a secondary phone. The phone on the far end of the line called Faber's name a dozen times before the professor answered in a faint voice. Montag identified himself and was met with a lengthy silence. "Yes, Mr. Montag?"
"Professor Faber, I have a rather odd question to ask. How many copies of the Bible are left in this country?"
"I don't know what you're talking about!"
"I want to know if there are any copies left at all."
"This is some sort of trap! I can't talk to just anyone on the phone!"
"How many copies of Shakespeare and Plato?"
"None! You know as well as I do. None!"
Faber hung up.
Montag put down the phone. None. A thing he knew of course from the firehouse listings. But somehow he had wanted to hear it from Faber himself.
In the hall Mildred's face was suffused with excitement. "Well, the ladies are coming over!"
Montag showed her a book. "This is the Old and New Testament, and . . ."
"Don't start that again!"
"It might be the last copy in this part of the world."
"You've got to hand it back tonight, don't you? Captain Beatty knows you got it, doesn't he?"
"I don't think he knows which book I stole. But how do I choose a substitute? Do I turn in Mr. Jefferson? Mr. Thoreau? Which is least valuable? If I pick a substitute and Beatty does know which book I stole, he'll guess we've an entire library here!"
Mildred's mouth twitched. "See what you're doing? You'll ruin us! Who's more important, me or that Bible?" She was beginning to shriek now, sitting there like a wax doll melting in its own heat.
He could hear Beatty's voice. "Sit down, Montag.
Watch. Delicately, like the petals of a flower. Light the first page, light the second page. Each becomes a black butterfly. Beautiful, eh? Light the third page, from the second and so on, chain-smoking, chapter by chapter, all the silly things the words mean, all the false promises, all the secondhand notions and time-worn philosophies." There sat Beatty, perspiring gently, the floor littered with swarms of black moths that had died in a single storm.
Mildred stopped screaming as quickly as she started. Montag was not listening. "There's only one thing to do," he said. "Some time before tonight when I give the book to Beatty, I've got to have a duplicate made."
"You'll be here for the White Clown tonight, and the ladies coming over?" cried Mildred.
Montag stopped at the door, with his back turned. "Millie?"
A silence. "What?"
"Millie? Does the White Clown love you?"
No answer.
"Millie, does"--he licked his lips--"does your 'family' love you, love you very much, love you with all their heart and soul, Millie?"
He felt her blinking slowly at the back of his neck. "Why'd you ask a silly question like that?"
He felt he wanted to cry, but nothing would happen to his eyes or his mouth.
"If you see that dog outside," said Mildred, "give him a kick for me."
He hesitated, listening at the door. He opened it and stepped out.
The rain had stopped and the sun was setting in the clear sky. The street and the lawn and the porch were empty. He let his breath go in a great sigh.
He slammed the door.
He was on the subway.
I'm numb, he thought. When did the numbness really begin in my face? In my body? The night I kicked the pill bottle in the dark, like kicking a buried mine.
The numbness will go away, he thought. It'll take time, but I'll do it, or Faber will do it for me. Someone somewhere will give me back the old face and the old hands the way they were. Even the smile, he thought, the old burnt-in smile, that's gone. I'm lost without it.
The subway fled past him, cream-tile, jet-black, cream-tile, jet-black, numerals and darkness, more darkness and the total adding itself.
Once as a child he had sat upon a yellow dune by the sea in the middle of the blue and hot summer day, trying to fill a sieve with sand, because some cruel cousin had said, "Fill this sieve and you'll get a dime!" And the faster he poured, the faster it sifted through with a hot whispering. His hands were tired, the sand was boiling, the sieve was empty. Seated there in the midst of July, without a sound, he felt the tears move down his cheeks.
Now as the vacuum-underground rushed him through the dead cellars of town, jolting him, he remembered the terrible logic of that sieve, and he looked down and saw that he was carrying the Bible open. There were people in the suction train but he held the book in his hands and the silly thought came to him, if you read fast and read all, maybe some of the sand will stay in the sieve. But he read and the worlds fell through, and he thought, in a few hours, there will be Beatty, and here will be me handing this over, so no phrase must escape me, each line must be memorized. I will myself to do it.
He clenched the book in his fists.
Trumpets blared.
"Denham's Dentifrice."
Shut up, thought Montag. Consider the lilies of the field.
"Denham's Dentifrice."
They toil not--
"Denham's--"
Consider the lilies of the field, shut up, shut up.
"Dentifrice!"
He tore the book open and flicked the pages and felt of them as if he were blind, he picked at the shape of the individual letters, not blinking.
"Denham's. Spelled: D-E-N--"
They toil not, neither do they . . .
A fierce whisper of hot sand through empty sieve.
"Denham's does it!"
Consider the lilies, the lilies, the lilies . . .
"Denham's dental detergent."
"Shut up, shut up, shut up!" It was a plea, a cry so terrible that Montag found himself on his feet, the shocked inhabitants of the loud car staring, moving back from this man with the insane, gorged face, the gibbering, dry mouth, the flapping book in his fist. The people who had been sitting a moment before, tapping their feet to the rhythm of Denham's Dentifrice, Denham's Dandy Dental Detergent, Denham's Dentifrice Dentifrice Dentifrice, one two, one two three, one two, one two three. The people whose mouths had been faintly twitching the words Dentifrice Dentifrice Dentifrice. The train radio vomited upon Montag, in retaliation, a great tonload of music made of tin, copper, silver, chromium, and brass. The people were pounded into submission; they did not run, there was no place to run; the great air train fell down its shaft in the earth.
"Lilies of the field."
"Denham's."
"Lilies, I said!"
The people stared.
"Call the guard."
"The man's off--"
"Knoll View!"
The train hissed to its stop.
"Knoll View!" A cry.
"Denham's." A whisper.
Montag's mouth barely moved. "Lilies . . ."
The train door whistled open. Montag stood. The door gasped, started shut. Only then did he leap past the other passengers, screaming in his mind, plunge through the slicing door only in time. He ran on the white tiles up through the tunnels, ignoring the escalators, because he wanted to feel his feet move, arms swing, lungs clench, unclench, feel his throat go raw with air. A voice drifted after him, "Den-ham's Denham's Denham's," the train hissed like a snake. The train vanished in its hole.
"Who is it?"
"Montag out here."
"What do you want?"
"Let me in."
"I haven't done anything!"
"I'm alone, dammit!"
"You swear it?"
"I swear!"
The front door opened slowly. Faber peered out, looking very old in the light and very fragile and very much afraid. The old man looked as if he had not been out of the house in years. He and the white plaster walls inside were much the same. There was white in the flesh of his mouth and his cheeks and his hair was white and his eyes had faded, with white in the vague blueness there. Then his eyes touched on the book under Montag's arm and he did not look so old any more and not quite as fragile. Slowly, his fear went.
"I'm sorry. One has to be careful."
He looked at the book under Montag's arm and could not stop. "So it's true."
Montag stepped inside. The door shut.
"Sit down." Faber backed up, as if he feared the book might vanish if he took his eyes from it. Behind him, the door to a bedroom stood open, and in that room a litter of machinery and steel tools were strewn upon a desktop. Montag had only a glimpse, before Faber, seeing Montag's attention diverted, turned quickly and shut the bedroom door and stood holding the knob with a trembling hand. His gaze returned unsteadily to Montag, who was now seated with the book in his lap. "The book--where did you--?"
"I stole it."
Faber, for the first time, raised his eyes and looked directly into Montag's face. "You're brave."
"No," said Montag. "My wife's dying. A friend of mine's already dead. Someone who may have been a friend was burnt less than twenty-four hours ago. You're the only one I knew might help me. To see. To see . . ."
Faber's hands itched on his knees. "May I?"
"Sorry." Montag gave him the book.
"It's been a long time. I'm not a religious man. But it's been a long time." Faber turned the pages, stopping here and there to read. "It's as good as I remember. Lord, how they've changed it in our 'parlors' these days. Christ is one of the 'family' now. I often wonder if God recognizes His own son the way we've dressed him up, or is it dressed him down? He's a regular peppermint stick now, all sugar-crystal and saccharine when he isn't making veiled references to certain commercial products that every worshiper absolutely needs." Faber sniffed the book. "Do you know that books smell like nutmeg or some spice from a foreign land? I loved to smell them when I was a boy. Lord, there were a lot of lovely books once, before we let them go." Faber turned the pages. "Mr. Montag, you are looking at a coward. I saw the way things were going, a long time back. I said nothing. I'm one of the innocents who could have spoken up and out when no one would listen to the 'guilty' but I did not speak and thus became guilty myself. And when finally they set the structure to burn the books, using the firemen, I grunted a few times and subsided, for there were no others grunting or yelling with me, by then. Now, it's too late." Faber closed the Bible. "Well--suppose you tell me why you came here?"
"Nobody listens any more. I can't talk to the walls because they're yelling at me. I can't talk to my wife; she listens to the walls. I just want someone to hear what I have to say. And maybe if I talk long enough, it'll make sense. And I want you to teach me to understand what I read."
Faber examined Montag's thin, blue-jowled face. "How did you get shaken up? What knocked the torch out of your hands?"
"I don't know. We have everything we need to be happy, but we aren't happy. Something's missing. I looked around. The only thing I positively knew was gone was the books I'd burned in ten or twelve years. So I thought books might help."
"You're a hopeless romantic," said Faber. "It would be funny if it were not serious. It's not books you need, it's some of the things that once were in books. The same things could be in the 'parlor families' today. The same infinite detail and awareness could be projected through the radios and televisors, but are not. No, no, it's not books at all you're looking for! Take it where you can find it, in old phonograph records, old motion pictures, and in old friends; look for it in nature and look for it in yourself. Books were only one type of receptacle where we stored a lot of things we were afraid we might forget. There is nothing magical in them, at all. The magic is only in what books say, how they stitched the patches of the universe together into one garment for us. Of course you couldn't know this, of course you still can't understand what I mean when I say all this. You are intuitively right, that's what counts. Three things are missing.
"Number one: Do you know why books such as this are so important? Because they have quality. And what does the word quality mean? To me it means texture. This book has pores. It has features. This book can go under the microscope. You'd find life under the glass, streaming past in infinite profusion. The more pores, the more truthfully recorded details of life per square inch you can get on a sheet of paper, the more 'literary' you are. That's my definition, anyway. Telling detail. Fresh detail. The good writers touch life often. The mediocre ones run a quick hand over her. The bad ones rape her and leave her for the flies.
"So now do you see why books are hated and feared? They show the pores in the face of life. The comfortable people want only wax moon faces, poreless, hairless, expressionless. We are living in a time when flowers are trying to live on flowers, instead of growing on good rain and black loam. Even fireworks, for all their prettiness, come from the chemistry of the earth. Yet somehow we think we can grow, feeding on flowers and fireworks, without completing the cycle back to reality. Do you know the legend of Hercules and Antaeus, the giant wrestler, whose strength was incredible so long as he stood firmly on the earth? But when he was held, rootless, in midair, by Hercules, he perished easily. If there isn't something in that legend for us today, in this city, in our time, then I am completely insane. Well, there we have the first thing I said we needed. Quality, texture of information."
"And the second?"
"Leisure."
"Oh, but we've plenty of off hours."
"Off hours, yes. But time to think? If you're not driving a hundred miles an hour, at a clip where you can't think of anything else but the danger, then you're playing some game or sitting in some room where you can't argue with the four-wall televisor. Why? The televisor is 'real.' It is immediate, it has dimension. It tells you what to think and blasts it in. It must be right. It seems so right. It rushes you on so quickly to its own conclusions your mind hasn't time to protest, 'What nonsense!' "
"Only the 'family' is 'people.' "
"I beg pardon?"
"My wife says books aren't 'real.' "
"Thank God for that. You can shut them, say, 'Hold on a moment.' You play God to it. But who has ever torn himself from the claw that encloses you when you drop a seed in a TV parlor? It grows you any shape it wishes! It is an environment as real as the world. It becomes and is the truth. Books can be beaten down with reason. But with all my knowledge and skepticism, I have never been able to argue with a one-hundred-piece symphony orchestra, full color, three dimensions, and being in and part of those incredible parlors. As you see, my parlor is nothing but four plaster walls. And here." He held out two small rubber plugs. "For my ears when I ride the subway jets."
"Denham's Dentifrice; they toil not, neither do they spin," said Montag, eyes shut. "Where do we go from here? Would books help us?"
"Only if the third necessary thing could be given us. Number one, as I said, quality of information. Number two: leisure to digest it. And number three: the right to carry out actions based on what we learn from the interaction of the first two. And I hardly think a very old man and a fireman turned sour could do much this late in the game. . . ."
"I can get books."
"You're running a risk."
"That's the good part of dying; when you've nothing to lose, you run any risk you want."
"There, you've said an interesting thing," laughed Faber, "without having read it!"
"Are things like that in books? But it came off the top of my mind!"
"All the better. You didn't fancy it up for me or anyone, even yourself."
Montag leaned forward. "This afternoon I thought that if it turned out that books were worthwhile, we might get a press and print some extra copies--"
"We?"
"You and I."
"Oh, no!" Faber sat up.
"But let me tell you my plan--"
"If you insist on telling me, I must ask you to leave."
"But aren't you interested?"
"Not if you start talking the sort of talk that might get me burnt for my trouble. The only way I could possibly listen to you would be if somehow the fireman structure itself could be burnt. Now if you suggest that we print extra books and arrange to have them hidden in firemen's houses all over the country, so that seeds of suspicion would be sown among these arsonists, bravo, I'd say!"
"Plant the books, turn in an alarm, and see the firemen's houses burn, is that what you mean?"
Faber raised his brows and looked