by Paul Melko
TEN SIGMAS
& OTHER UNLIKELIHOODS
PAUL MELKO
FAIRWOOD PRESS
Bonney Lake, WA
TEN SIGMAS
& OTHER LIKELIHOODS
Paul Melko
Melko's first story collection follows right on the heels of his award-winning first novel, Singularity's Ring. Ten Sigmas features 12 of his best science fiction stories, shifting from multiple universes to caped crusaders and from captured aliens to pet cats.
Also by Paul Melko
Singularity’s Ring
The Walls of the Universe
The Broken Universe
TEN SIGMAS
A Fairwood Press Book
March 2008
Copyright © 2008 by Paul Melko
All Rights Reserved
No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.
Fairwood Press
21528 104th Street Court East
Bonney Lake, WA 98391
www.fairwoodpress.com
Cover illustration by Adam Hunter Peck
www.adamhunterpeck.com
Book Design by Patrick Swenson
ISBN: 0-9789078-6-8
ISBN13: 978-0-9789078-6-0
First Fairwood Press Edition: March 2008
Printed in the United States of America
eISBN: 978-1-62579-300-3
Electronic Version by Baen Books
www.baen.com
Dedication
As if there could be any doubt,
to my dearest friend and love.
Copyrights
“Ten Sigmas”
Talebones #28.
“The Teosinthe War”
Futureshocks, Lou Anders, ed, Jan. 06.
“Doctor Mighty and the Case of Ennui”
Strange Horizons, 2004.
“Alien Fantasies”
Terra Incognita #5.
“The Summer of the Seven”
Asimov’s SF, Aug. 05.
“Singletons in Love” Live Without a Net, Lou Anders, ed, Jul 03.
“Strength Alone”
Asimov’s SF, Dec 04.
“Dysfunctional Family Cat”
Aberrations #39.
“Fallow Earth”
Asimov’s SF, May 04.
“Death of the Egg King”
Talebones #16.
“Walls of the Universe”
Asimov’s SF, Apr/May 06.
“Snail Stones”
Asimov’s SF, July 06.
TEN SIGMAS
At first we do not recognize the face as such.
One eye is swollen shut, the flesh around it livid. The nose is crusted with blood, the lip flecked with black-red, and the mouth taped with duct tape that does not contrast enough with her pale skin. It does not register at first as a human face. No face should be peeking from behind the driver’s seat. No face should look like that.
So at first we do not recognize it, until one of us realizes, and we all look.
For some the truck isn’t even there, and we stand frozen at the sight we have seen. The street outside the bookstore is empty of anything but a pedestrian or two. There is no tractor trailer rumbling down Sandusky Street, no diesel gas engine to disturb the languid Spring day.
In some worlds, the truck is there, past us, or there, coming down the road. In some it is red, in some it is blue, and in others it is black. In the one where the girl is looking out the window at us, it is metallic maroon with white script on the door that says, “Earl.”
There is just one world where the girl lifts her broken, gagged face and locks her one good eye on me. There is just one where Earl reaches behind him and pulls the girl from sight. In that world, Earl looks at me, his thick face and brown eyes expressionless.
The truck begins to slow, and that me disappears from our consciousness, sundered by circumstance.
*
No, I did not use my tremendous power for the good of mankind. I used it to steal the intellectual property of a person who exists in one world and pass it off as my own in another. I used my incredible ability to steal songs and stories and publish them as my own in a million different worlds. I did not warn police about terrorist attacks or fires or earthquakes. I don’t even read the papers.
I lived in a house in a town that is sometimes called Delaware, sometimes Follett, sometimes Mingo, always in a house on the corner of Williams and Ripley. I lived there modestly, in my two bedroom house, sometimes with a pine in front, sometimes with a dogwood, writing down songs that I hear on the radio in other worlds, telling stories that I’ve read somewhere else.
*
In the worlds where the truck has passed us, we look at the license plate on the truck, framed in silver, naked women, and wonder what to do. There is a pay phone nearby, perhaps on this corner, perhaps on that. We can call the police and say . . .
We saw the girl once, and that self is already gone to us. How do we know that there is a girl gagged and bound in any of these trucks? We just saw the one.
A part of us recognizes this rationalization for the cowardice it is. We have played this game before. We know that an infinite number of possibilities exist, but that our combined existence hovers around a huge multi-dimensional probability distribution. If we saw the girl in one universe, then probably she was there in an infinite number of other universes.
And safe in as many other worlds, I think.
For those of us where the truck has passed us, the majority of us step into the street to go to the bagel shop across the way. Some fraction of us turn to look for a phone, and they are broken from us, their choice shaking them loose from our collective.
*
I am — we are — omniscient, at least a bit. I can do a parlor trick for any friend, let another of me open the envelope and see what’s inside, so we can amaze those around us. Usually we will be right. One of me can flip over the first card and the rest of me will pronounce it for what it is. Ace of Hearts, Four of Clubs, Ten of Clubs. Probably we are right for all fifty-two, at least fifty of them.
We can avoid accidents, angry people, cars, or at least most of us can. Perhaps one of us takes the hit for the rest. One of us is hit first, or sees the punch being thrown, so that the rest of us can ride the probability wave.
*
For some of us, the truck shifts gears, shuddering as it passes us. Earl, Bill, Tony, Irma look down at us or not, and the cab is past us. The trailer is metallic aluminum. Always.
I feel our apprehension. More of us have fallen away today than ever before. The choice to make a phone call has reduced us by a sixth. The rest of us wonder what we should do.
More of us memorize the license plate of Earl’s truck, turn to find a phone, and disappear.
*
When we were a child, we had a kitten named “Cocoa.” In every universe it had the same name. It liked to climb trees, and sometimes it couldn’t get back down again. Once it crawled to the very top of the maple tree out front, and we only knew it was up there by its hysterical mewing.
Dad wouldn’t climb up. “He’ll figure it out, or . . .”
We waited down there until dusk. We knew that if we climbed the tree we would be hurt. Some of us had tried it and failed, disappearing after breaking arms, legs, wrists, even necks.
We waited, not even going in to dinner. We waited with some neighborhood kids, some there because they liked Cocoa and some there because they wanted to see a spectacle. Finally the wind picked up.
We saw one Cocoa fall
through the dark green leaves, a few feet away, breaking its neck on the sidewalk. We felt a shock of sorrow, but the rest of us were dodging, our arms outstretched, and we caught the kitten as it plummeted, cushioning.
“How’d you do that?” someone asked in a million universes.
I realized then that I was different.
*
We step back on the sidewalk, waiting for the truck to pass, waiting to get the license plate so we can call the police anonymously. The police might be able to stop Earl with a road block. They could stop him up U.S. 23 a few miles. If they believed us.
If Earl didn’t kill the girl first. If she wasn’t already dead.
My stomach lurched. We couldn’t help thinking of the horror that the girl must have faced, must be facing.
Giving the license plate to the police wouldn’t be enough.
We step into the street and wave our hands, flagging Earl down.
*
We once dated a woman, a beautiful woman with chestnut hair that fell to the middle of her back. We dated for several years, and finally became engaged. In one of the worlds, just one, she started to change, grew angry, then elated, then just empty. The rest of us watched in horror as she took a knife to us, just once, in one universe, while in a million others, she compassionately helped our retching self to the kitchen sink.
She didn’t understand why I broke off the engagement. But then she didn’t know the things I did.
*
Earl’s cab shudders as he slams on the brakes. His CB mic slips loose and knocks the windshield. He grabs his steering wheel, his shoulders massive with exertion.
We stand there, our shopping bag dropped by the side of road, slowly waving our hands back and forth.
In a handful of worlds, the tractor trailer slams through us, and we are rattled by my death. But we know he will be caught there. For vehicular manslaughter, perhaps, and then they will find the girl. In almost all the worlds, though, Earl’s semi comes to a halt a few inches from us, a few feet.
We look up over the chrome grill, past the hood ornament, a woman’s head, like on a sea-going vessel of old, and into Earl’s eyes.
He reaches up and lets loose with his horn. We clap our hands over our ears and, in some universes, we stumble to the sidewalk, allowing Earl to grind his truck into first and rumble away. But mostly, we stand there, not moving.
*
It didn’t matter who was president, or who won the World Series. In sum, it was the same world for each of us, and so we existed together, on top of each other, like a stack of us, all living together within a deck of cards.
Each decision that created a subtly different universe, created another of us, another of a nearly infinite number of mes, who added just a fraction more to our intellect and understanding.
We were not a god. One of us once thought he was, and soon he was no longer with us. He couldn’t have shared our secret. We weren’t scared of that. Who would have believed him? And now that he was alone — for there could only be a handful of us who might have such delusions — there could be no harm to the rest of us.
We were worlds away.
*
Finally the horn stops and we look up, our ears benumbed, to see Earl yelling at us. We can’t hear what he says, but we recognize on his lips “Mother Fucker” and “Son of a Bitch.” That’s fine. We need him angry. To incite him, we give him the bird.
He bends down, reaching under his seat. He slaps a metal wrench against his open palm. His door opens and he steps down. We wait where we are.
Earl is a large man, six-four, and weighing at least three hundred pounds. He has a belly, but his chest and neck are massive. Black sideburns adorn his face, or it is clearly shaven, or he has a mustache. In all worlds, his dead eyes watch us as if we are a cow and he is the butcher.
I am slight, just five-nine, one hundred and sixty pounds, but as he swings the wrench we dodge inside it as if we know where it is going to be. We do, of course, for it has shattered our skull in a hundred worlds, enough for the rest of us to anticipate the move.
He swings and we dodge again, twice more, and each time a few of us are sacrificed. We are suddenly uncomfortable at the losses. We are the consciousness of millions of mes. But every one of us that dies is a real instance, gone forever. Every death diminishes us.
We can not wait for the police now. We must save as much of ourself as we can.
We dodge again, spinning past him, sacrificing selves to dance around him as if he is a dance partner we have worked with for a thousand years. We climb the steps to the cab, slide inside, slam the door, and lock it.
*
I am a composite of all versions of myself. I can think in a millions ways at once. Problems become picking the best choice of all choices I could ever have picked. I can not see the future or the past, but I can see the present with a billion eyes and decide the safest course, the one that keeps the most of me together.
I am a massively parallel human.
*
In the worlds where the sleeper is empty, we sit quietly for the police to arrive, weaving a story that they might believe while Earl glares at us from the street. These selves fade away from those where the girl is trussed in the back, tied with wire that cuts her wrists, and gagged with duct tape.
She is dead in some, her face livid with bruises and burns. In others she is alive and conscious and watches us with blue, bloodshot eyes. The cab smells of people living there too long, of sex, of blood.
In the universes where Earl has abducted and raped this young woman, he does not stand idly on the sidewalk, but rather smashes his window open with the wrench.
The second blow catches my forehead, as I have no place to dodge, and I think as my mind shudders that I am one of the sacrificed ones, one of those who has failed so that the rest of us might survive. But then I realize that it is most of us who have been hit. Only a small percentage have managed to dodge the blow. The rest of us roll to our back and kick at Earl’s hand as it reaches in to unlock the cab door. His wrist rakes the broken safety glass, and he cries out, though still manages to pop the lock.
I crab backwards across the seat, flailing my legs at him. There are no options here. All of my selves are fighting for our lives or dying.
A single blow takes half of us. Another takes a third of those that are left. Soon my mind is a cloud. I am perhaps ten thousand, slow-witted. No longer omniscient.
A blow lands and I collapse against the door of the cab. I am just me. There is just one. Empty.
My body refuses to move as Earl loops a wire around my wrists and ankles. He does it perfunctorily — he wants to move, to get out of the middle of Sandusky Street — but it is enough to leave me helpless on the passenger side floor. I can see a half-eaten Big Mac and a can of Diet Coke. My face grinds against small stones and dirt.
I am alone. There is just me, and I am befuddled. My mind works like cold honey. I’ve failed. We all did, and now we will die like the poor girl in the back. Alone.
My vision shifts, and I see the cab from behind Earl’s head, from the sleeping cab. I realize that I am seeing it from a self who has been beaten and tossed into the back. This self is dying, but I can see through his eyes, as the blood seeps out of him. For a moment our worlds are in sync.
His eyes lower and I spot the knife, a hunting knife with a serrated edge, brown with blood. It has fallen under the passenger’s chair in his universe, under the chair I have my back against.
My hands are bound behind me, but I reach as far as I can under the seat. It’s not far enough in my awkward position. My self’s eyes lock on the knife, not far from where my fingers should be. But I have no guarantee that it’s even in my own universe at all. We are no longer at the center of the curve. My choices have brought me far away from the selves now drinking coffee and eating bagels across the street from the bookstore.
Earl looks down at me, curses. He kicks me, and pushes me farther against the passenger seat. Someth
ing nicks my finger.
I reach gently around it. It is the knife.
I take moments to maneuver it so that I hold it in my palm, outstretched like the spine of a stegosaurus. I cut myself, and I feel the hilt get slippery. I palm my hand against the gritty carpet and position the knife again.
I wait for Earl to begin a right turn, then I pull my knees in, roll onto my chest, and launch myself, back first with knife extended, at Earl.
In the only universe that I exist in, the knife enters his thigh.
The truck caroms off something in the street, and I am jerked harder against Earl. He is screaming, yelling, pawing at his thigh.
His fist slams against me and I fall to the floor.
As he turns his anger on me, the truck slams hard into something, and Earl is flung against the steering wheel. He remains that way, unconscious, until the woman in the back struggles forward and leans heavily on the knife hilt in his leg, and slices until she finds a vein or artery.
I lie in Earl’s blood until the police arrive. I am alone again, the self who had spotted the knife, gone.
*
The young woman came to see me while I mended in a hospital bed. There was an air of notoriety about me, and nurses and doctors were extremely pleasant. It was not just the events which had unfolded on the streets of their small town, but that I was the noted author of such famous songs as “Love as a Star” and “Romance Ho” and “Muskrat Love.” The uncovering of Earl’s exploits, including a grim laboratory in his home town of Pittsburgh, added fuel to the fire.
