Philip Dick - Complete Stories 3 - Second Variety and Other Stories

Ellis was dumbfounded. "But why?"

"Why indeed! Because it's defective. Because it doesn't work. That's why." Miller's eyes blazed with technological outrage. "The inspection crew found a leak a mile wide in it." His lip curled. "As if you didn't know."

Ellis's heart sank. "Leak?" he croaked apprehensively.

"Leak. It's a damn good thing I authorized a periodic inspection. If we depended on people like you to --"

"Are you sure? It seemed all right to me. That is, it got me here without any trouble," Ellis floundered. "Certainly no complaints from my end."

"No. No complaints from your end. That's exactly why you're not getting another one. That's why you're taking the monojet transport back home tonight. Because you didn't report the leak! And if you ever try to put something over on this office again --"

"How do you know I was aware of the -- defect?"

Miller sank down in his chair, overcome with fury. "Because," he said carefully, "of your daily pilgrimage to the Linguistic Machine. With your alleged letter from your grandmother on Betelgeuse II. Which wasn't any such thing. Which was an utter fraud. Which you got through the leak in the Jiffi-scuttler!"

"How do you know?" Ellis squeaked boldly, driven to the wall. "So maybe there was a defect. But you can't prove there's any connection between your badly constructed Jiffi-scuttler and my --"

"Your missive," Miller stated, "which you foisted on our Linguistics Machine, was not a non-Terran script. It was not from Centaurus VI. It was not from any non-Terran system. It was ancient Hebrew. And there's only one place you could have got it, Ellis. So don't try to kid me."

"Hebrew!" Ellis exclaimed, startled. He turned white as a sheet. "Good Lord. The other continuum -- the fourth dimension. Time, of course." He trembled. "And the expanding universe. That would explain their size. And it explains why a new group, a new generation --"

"We're taking enough of a chance as it is, with these Jiffi-scuttlers. Warping a tunnel through other space-time continua." Miller shook his head warily. "You meddler. You knew you were supposed to report any defect."

other space-time continua." Miller shook his head warily. "You meddler. You knew you were supposed to report any defect."

Miller shrieked in insane rage. For a time he danced around the room. Finally he threw something down on his desk, directly in front of Ellis. "No trouble. No, none. Look at this. I got this from the Ancient Artifacts Archives."

"What is it?"

"Look at it! I compared one of your question sheets to this. The same. Exactly the same. All your sheets, questions and answers, every one of them's in here. You multi-legged Ganymedean mange beetle!"

Ellis picked up the book and opened it. As he read the pages a strange look came slowly over his face. "Good Heavens. So they kept a record of what I gave them. They put it all together in a book. Every word of it. And some commentaries, too. It's all here -- every single word. It did have an effect, then. They passed it on. Wrote all of it down."

"Go back to your office. I'm through looking at you for today. I'm through looking at you forever. Your severance check will come through regular channels."

In a trance, his face flushed with a strange excitement, Ellis gripped the book and moved dazedly towards the door. "Say, Mr Miller. Can I have this? Can I take it along?"

"Sure," Miller said wearily. "Sure, you can take it. You can read it on your way home tonight. On the public monojet transport."

"Henry has something to show you," Mary Ellis whispered excitedly, gripping Mrs Lawrence's arm. "Make sure you say the right thing."

"The right thing?" Mrs Lawrence faltered nervously, a trifle uneasy. "What is it? Nothing alive, I hope."

"No, no." Mary pushed her towards the study door. "Just smile." She raised her voice. "Henry, Dorothy Lawrence is here."

Henry Ellis appeared at the door of his study. He bowed slightly, a dignified figure in silk dressing gown, pipe in his mouth, fountain pen in one hand. "Good evening, Dorothy," he said in a low, well-modulated voice. "Care to step into my study a moment?"

"Study?" Mrs Lawrence came hesitantly in. "What do you study? I mean, Mary says you've been doing something very interesting recently, now that you're not with -- I mean, now that you're home more. She didn't give me any idea what it was, though."

Mrs Lawrence's eyes roved curiously around the study. The study was full of reference volumes, charts, a huge mahogany desk, an atlas, globe, leather chairs, an unbelievably ancient electric typewriter.

"Good Heavens!" she exclaimed. "How odd. All these old things."

Ellis lifted something carefully from the bookcase and held it out to her casually. "By the way -you might glance at this."

"What is it? A book?" Mrs Lawrence took the book and examined it eagerly. "My goodness. Heavy, isn't it?" She read the back, her lips moving. "What does it mean? It looks old. What strange letters! I've never seen anything like it. Holy Bible." She glanced up brightly. "What is this?"

Ellis smiled faintly. "Well --"

A light dawned. Mrs Lawrence gasped in revelation. "Good Heavens! You didn't write this, did you?"

Ellis's smile broadened into a deprecating blush. A dignified hue of modesty. "Just a little thing I threw together," he murmured indifferently. "My first, as a matter of fact." Thoughtfully, he fingered his fountain pen. "And now, if you'll excuse me, I really should be getting back to my work..."

When there is a date following the name of a story, it is the date the manuscript of that story was first received by Dick's agent, per the records of the Scott Meredith Literary Agency. Absence of a date means no record is available. The name of a magazine followed by a month and year indicates the first published appearance of a story. An alternate name following a story indicates Dick's original name for the story, as shown in the agency records.

These five volumes include all of Philip K. Dick's short fiction, with the exception of short novels later published as or included in novels, childhood writings, and unpublished writings for which manuscripts have not been found. The stories are arranged as closely as possible in chronological order of composition; research for this chronology was done by Gregg Rickman and Paul Williams.

THE COOKIE LADY 8/27/52. Fantasy Fiction, June 1953.

BEYOND THE DOOR 8/29/52. Fantastic Universe, Jan 1954.

SECOND VARIETY 10/3/52. Space Science Fiction, May 1953.

My grand theme -- who is human and who only appears (masquerades) as human? -- emerges most fully. Unless we can individually and collectively be certain of the answer to this question, we face what is, in my view, the most serious problem possible. Without answering it adequately, we cannot even be certain of our own selves. I cannot even know myself, let alone you. So I keep working on this theme; to me nothing is as important a question. And the answer comes very hard. (1976)

JON'S WORLD ("Jon") 10/21/52. Time to Come, edited by August Derleth, New York, 1954.

THE COSMIC POACHERS ("Burglar") 10/22/52. Imagination, July 1953.

PROGENY 11/3/52. If, Nov 1954.

SOME KINDS OF LIFE (The Beleaguered") 11/3/52. Fantastic Universe, Oct-Nov 1953 [under the pseudonym Richard Phillips].

MARTIANS COME IN CLOUDS ("The Buggies") 11/5/52. Fantastic Universe, June-July 1954.

THE COMMUTER 11/19/52. Amazing, Aug-Sept 1953.

THE WORLD SHE WANTED 11/24/52. Science Fiction Quarterly, May 1953.

A SURFACE RAID 12/2/52. Fantastic Universe, July 1955.

PROJECT: EARTH ("One Who Stole") 1/6/53. Imagination, Dec 1953.

THE TROUBLE WITH BUBBLES ("Plaything") 1/13/53. If, Sept 1953.

BREAKFAST AT TWILIGHT 1/17/53. Amazing, July 1954.