The Changed Man Read online

  ORSON SCOTT CARD

  THE CHANGED MAN

  TOM DOHERTY ASSOCIATES

  NEW YORK

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  To Charlie Ben,

  who can fly

  Table of Contents

  Title Page

  Copyright Notice

  INTRODUCTION

  EUMENIDES IN THE FOURTH FLOOR LAVATORY

  QUIETUS

  DEEP BREATHING EXERCISES

  FAT FARM

  CLOSING THE TIMELID

  FREEWAY GAMES

  A SEPULCHRE OF SONGS

  PRIOR RESTRAINT

  THE CHANGED MAN AND THE KING OF WORDS

  MEMORIES OF MY HEAD

  LOST BOYS

  From “The Changed Man and the King of Words”:

  AFTERWORD

  Copyright

  Tor Books by Orson Scott Card

  INTRODUCTION

  I CAN’T WATCH HORROR or suspense movies in the theatre. I’ve tried—but the tension becomes too much for me. The screen is too large, the figures are too real. I always end up having to get up, walk out, go home. It’s more than I can bear.

  You know where I end up watching those movies? At home. On cable TV. That little screen is so much safer. The familiar scenes of my home surround it. And when it gets too tense, I can flip away, watch reruns of Dick Van Dyke or Green Acres or some utterly lame depression-era movie until I calm down enough to flip back and see how things turned out.

  That’s how I watched Aliens and The Terminator— I never have watched them beginning-to-end. I realize that by doing this I’m subverting the filmmaker’s art, which is linear. But then, my TV’s remote control has turned viewing into a participatory art. I can now perform my own recutting on films that are too upsetting for my taste. For me, Lethal Weapon is much more pleasurable when intercut with fragments of Wild and Beautiful on Ibiza and Life on Earth.

  Which brings us to the most potent tool of storytellers. Fear. And not just fear, but dread. Dread is the first and the strongest of the three kinds of fear. It is that tension, that waiting that comes when you know there is something to fear but you have not yet identified what it is. The fear that comes when you first realize that your spouse should have been home an hour ago; when you hear a strange sound in the baby’s bedroom; when you realize that a window you are sure you closed is now open, the curtains billowing, and you’re alone in the house.

  Terror only comes when you see the thing you’re afraid of. The intruder is coming at you with a knife. The headlights coming toward you are clearly in your lane. The Klansmen have emerged from the bushes and one of them is holding a rope. This is when all the muscles of your body, except perhaps the sphincters, tauten and you stand rigid; or you scream; or you run. There is a frenzy to this moment, a climactic power—but it is the power of release, not the power of tension. And bad as it is, it is better than dread in this respect: Now, at least, you know the face of the thing you fear. You know its borders, its dimensions. You know what to expect.

  Horror is the weakest of all. After the fearful thing has happened, you see its remainder, its relics. The grisly, hacked-up corpse. Your emotions range from nausea to pity for the victim. And even your pity is tinged with revulsion and disgust; ultimately you reject the scene and deny its humanity; with repetition, horror loses its ability to move you and, to some degree, dehumanizes the victim and therefore dehumanizes you. As the sonderkommandos in the death camps learned, after you move enough naked murdered corpses, it stops making you want to weep orpuke. You just do it. They’ve stopped being people to you.

  This is why I am depressed by the fact that contemporary storytellers of fear have moved almost exclusively toward horror and away from dread. The slasher movies almost don’t bother anymore with creating the sympathy for character that is required to fill an audience with dread. The moments of terror are no longer terrifying because we empathize with the victim, but are rather fascinating because we want to see what creative new method of mayhem the writer and art director have come up with. Ah—murder by shish-ka-bob! Oh, cool—the monster poked the guy’s eye out from inside his head!

  Obsessed with the desire to film the unfilmable, the makers of horror flicks now routinely show the unspeakable, in the process dehumanizing their audience by turning human suffering into pornographically escalating “entertainment.” This is bad enough, but to my regret, too many writers of the fiction of fear are doing the same thing. They failed to learn the real lesson of Stephen King’s success. It isn’t the icky stuff that makes King’s stories work. It’s how much he makes you care about his characters before the icky stuff ever happens. And his best books are the ones like The Dead Zone and The Stand in which not that much horror ever happens at all. Rather the stories are suffused with dread leading up to cathartic moments of terror and pain. Most important, the suffering that characters go through means something.

  That is the artistry of fear. To make the audience so empathize with a character that we fear what he fears, for his reasons. We don’t stand outside, looking at a gory slime cover him or staring at his gaping wounds. We stand inside him, anticipating the terrible things that might or will happen. Anybody can hack a fictional corpse. Only a storyteller can make you hope the character will live.

  So: I don’t write horror stories. True, bad things happen to my characters. Sometimes terrible things. But I don’t show it to you in living color. I don’t have to. I don’t want to. Because, caught up in dread, you’ll imagine far worse things happening than I could ever think up to show you myself.

  EUMENIDES IN THE FOURTH FLOOR LAVATORY

  LIVING IN A fourth-floor walkup was part of his revenge, as if to say to Alice, “Throw me out of the house, will you? Then I’ll live in squalor in a Bronx tenement, where the toilet is shared by four apartments! My shirts will go unironed, my tie will be perpetually awry. See what you’ve done to me?”

  But when he told Alice about the apartment, she only laughed bitterly and said, “Not anymore, Howard. I won’t play those games with you. You win every damn time.”

  She pretended not to care about him anymore, but Howard knew better. He knew people, knew what they wanted, and Alice wanted him. It was his strongest card in their relationship—that she wanted him more than he wanted her. He thought of this often: at work in the offices of Humboldt and Breinhardt, Designers; at lunch in a cheap lunchroom (part of the punishment); on the subway home to his tenement (Alice had kept the Lincoln Continental). He thought and thought about how much she wanted him. But he kept remembering what she had said the day she threw him out: If you ever come near Rhiannon again I’ll kill you.

  He could not remember why she had said that. Could not remember and did not try to remember because that line of thinking made him uncomfortable and one thing Howard insisted on being was comfortable with himself. Other people could spend hours and days of their lives chasing after some accommodation with themselves, but Howard was accommodated. Well adjusted. At ease. I’m OK, I’m OK, I’m OK. Hell with you. “If you let them make you feel uncomfortable,” Howard would often say, “you give them a handle on you and they can run your life.” Howard could find other people’s handles, but they could
never find Howard’s.

  It was not yet winter but cold as hell at three A.M. when Howard got home from Stu’s party. A must attend party, if you wished to get ahead at Humboldt and Breinhardt. Stu’s ugly wife tried to be tempting, but Howard had played innocent and made her feel so uncomfortable that she dropped the matter. Howard paid careful attention to office gossip and knew that several earlier departures from the company had got caught with, so to speak, their pants down. Not that Howard’s pants were an impenetrable barrier. He got Dolores from the front office into the bedroom and accused her of making life miserable for him. “In little ways,” he insisted. “I know you don’t mean to, but you’ve got to stop.”

  “What ways?” Dolores asked, incredulous yet (because she honestly tried to make other people happy) uncomfortable.

  “Surely you knew how attracted I am to you.”

  “No. That hasn’t—that hasn’t even crossed my mind.”

  Howard looked tongue-tied, embarrassed. He actually was neither. “Then—well, then, I was—I was wrong, I’m sorry, I thought you were doing it deliberately—”

  “Doing what?”

  “Snub—snubbing me—never mind, it sounds adolescent, just little things, hell, Dolores, I had a stupid schoolboy crush—”

  “Howard, I didn’t even know I was hurting you.”

  “God, how insensitive,” Howard said, sounding even more hurt.

  “Oh, Howard, do I mean that much to you?”

  Howard made a little whimpering noise that meant everything she wanted it to mean. She looked uncomfortable. She’d do anything to get back to feeling right with herself again. She was so uncomfortable that they spent a rather nice half hour making each other feel comfortable again. No one else in the office had been able to get to Dolores. But Howard could get to anybody.

  He walked up the stairs to his apartment feeling very, very satisfied. Don’t need you, Alice, he said to himself. Don’t need nobody, and nobody’s who I’ve got. He was still mumbling the little ditty to himself as he went into the communal bathroom and turned on the light.

  He heard a gurgling sound from the toilet stall, a hissing sound. Had someone been in there with the light off? Howard went into the toilet stall and saw nobody. Then looked closer and saw a baby, probably about two months old, lying in the toilet bowl. Its nose and eyes were barely above the water; it looked terrified, its legs and hips and stomach were down the drain. Someone had obviously hoped to kill it by drowning— it was inconceivable to Howard that anyone could be so moronic as to think it would fit down the drain.

  For a moment he thought of leaving it there, with the big-city temptation to mind one’s own business even when to do so would be an atrocity. Saving this baby would mean inconvenience: calling the police, taking care of the child in his apartment, perhaps even headlines, certainly a night of filling out reports. Howard was tired. Howard wanted to go to bed.

  But he remembered Alice saying, “You aren’t even human, Howard. You’re a goddam selfish monster.” I am not a monster, he answered silently, and reached down into the toilet bowl to pull the child out.

  The baby was firmly jammed in—whoever had tried to kill it had meant to catch it tight. Howard felt a brief surge of genuine indignation that anyone could think to solve his problems by killing an innocent child. But thinking of crimes committed on children was something Howard was determined not to do, and besides, at that moment he suddenly acquired other things to think about.

  As the child clutched at Howard’s arm, he noticed the baby’s fingers were fused together into flipperlike flaps of bone and skin at the end of the arm. Yet the flippers gripped his arms with an unusual strength as, with two hands deep in the toilet bowl, Howard tried to pull the baby free.

  At last, with a gush, the child came up and the water finished its flushing action. The legs, too, were fused into a single limb that was hideously twisted at the end. The child was male; the genitals, larger than normal, were skewed off to one side. And Howard noticed that where the feet should be were two more flippers, and near the tips were red spots that looked like putrefying sores. The child cried, a savage mewling that reminded Howard of a dog he had seen in its death throes. (Howard refused to be reminded that it had been he who killed the dog by throwing it out in the street in front of a passing car, just to watch the driver swerve; the driver hadn’t swerved.)

  Even the hideously deformed have a right to live, Howard thought, but now, holding the child in his arms, he felt a revulsion that translated into sympathy for whoever, probably the parents, had tried to kill the creature. The child shifted its grip on him, and where the flippers had been Howard felt a sharp, stinging pain that quickly turned to agony as it was exposed to the air. Several huge, gaping sores on his arm were already running with blood and pus.

  It took a moment for Howard to connect the sores with the child, and by then the leg flippers were already pressed against his stomach, and the arm flippers already gripped his chest. The sores on the child’s flippers were not sores; they were powerful suction devices that gripped Howard’s skin so tightly that it ripped away when the contact was broken. He tried to pry the child off, but no sooner was one flipper free than it found a new place to hold even as Howard struggled to break the grip of another.

  What had begun as an act of charity had now become an intense struggle. This was not a child, Howard realized. Children could not hang on so tightly, and the creature had teeth that snapped at his hands and arms whenever they came near enough. A human face, certainly, but not a human being. Howard threw himself against the wall, hoping to stun the creature so it would drop away. It only clung tighter, and the sores where it hung on him hurt more. But at last Howard pried and scraped it off by levering it against the edge of the toilet stall. It dropped to the ground, and Howard backed quickly away, on fire with the pain of a dozen or more stinging wounds.

  It had to be a nightmare. In the middle of the night, in a bathroom lighted by a single bulb, with a travesty of humanity writhing on the floor, Howard could not believe that it had any reality.

  Could it be a mutation that had somehow lived? Yet the thing had far more purpose, far more control of its body than any human infant. The baby slithered across the floor as Howard, in pain from the wounds on his body, watched in a panic of indecision. The baby reached the wall and cast a flipper onto it. The suction held and the baby began to inch its way straight up the wall. As it climbed, it defecated, a thin drool of green tracing down the wall behind it. Howard looked at the slime following the infant up the wall, looked at the pus-covered sores on his arms.

  What if the animal, whatever it was, did not die soon of its terrible deformity? What if it lived? What if it were found, taken to a hospital, cared for? What if it became an adult?

  It reached the ceiling and made the turn, clinging tightly to the plaster, not falling off as it hung upside down and inched across toward the light bulb.

  The thing was trying to get directly over Howard, and the defecation was still dripping. Loathing overcame fear, and Howard reached up, took hold of the baby from the back, and, using his full weight, was finally able to pry it off the ceiling. It writhed and twisted in his hands, trying to get the suction cups on him, but Howard resisted with all his strength and was able to get the baby, this time headfirst, into the toilet bowl. He held it there until the bubbles stopped and it was blue. Then he went back to his apartment for a knife. Whatever the creature was, it had to disappear from the face of the earth. It had to die, and there had to be no sign left that could hint that Howard had killed it.

  He found the knife quickly, but paused for a few moments to put something on his wounds. They stung bitterly, but in a while they felt better. Howard took off his shirt; thought a moment and took off all his clothes, then put on his bathrobe and took a towel with him as he returned to the bathroom. He didn’t want to get any blood on his clothes.

  But when he got to the bathroom, the child was not in the toilet. Howard was alarmed. Ha
d someone found it drowning? Had they, perhaps, seen him leaving the bathroom—or worse, returning with his knife? He looked around the bathroom. There was nothing. He stepped back into the hall. No one. He stood a moment in the doorway, wondering what could have happened.

  Then a weight dropped onto his head and shoulders from above, and he felt the suction flippers tugging at his face, at his head. He almost screamed. But he didn’t want to arouse anyone. Somehow the child had not drowned after all, had crawled out of the toilet, and had waited over the door for Howard to return.

  Once again the struggle resumed, and once again Howard pried the flippers away with the help of the toilet stall, though this time he was hampered by the fact that the child was behind and above him. It was exhausting work. He had to set down the knife so he could use both hands, and another dozen wounds stung bitterly by the time he had the child on the floor. As long as the child lay on its stomach, Howard could seize it from behind. He took it by the neck with one hand and picked up the knife with the other. He carried both to the toilet.

  He had to flush twice to handle the flow of blood and pus. Howard wondered if the child was infected with some disease—the white fluid was thick and at least as great in volume as the blood. Then he flushed seven more times to take the pieces of the creature down the drain. Even after death, the suction pads clung tightly to the porcelain; Howard pried them off with the knife.

  Eventually, the child was completely gone. Howard was panting with the exertion, nauseated at the stench and horror of what he had done. He remembered the smell of his dog’s guts after the car hit it, and he threw up everything he had eaten at the party. Got the party out of his system, felt cleaner; took a shower, felt cleaner still. When he was through, he made sure the bathroom showed no sign of his ordeal.

  Then he went to bed.

  It wasn’t easy to sleep. He was too keyed up. He couldn’t take out of his mind the thought that he had committed murder (not murder, not murder, simply the elimination of something too foul to be alive). He tried thinking of a dozen, a hundred other things. Projects at work—but the designs kept showing flippers. His children—but their faces turned to the intense face of the struggling monster he had killed. Alice—ah, but Alice was harder to think of than the creature.