Robert Silverberg The Science Fiction Hall Of Fame Volume One, 1929-1964

by Robert Silverberg

  The Reillys gave him a little box they had made, to keep things in. They didn’t say what things, but Dan said he’d keep his personal jewelry in it. The Reillys had made it out of a cigar box, carefully peeled of its paper and lined on the inside with velvet. The outside had been polished, and carefully if not expertly carved by Pat—

  but his carving got complimented, too. Dan Hollis received many other gifts—a pipe, a pair of shoelaces, a tiepin, a knit pair of socks, some fudge, a pair of garters made from old suspenders.

  He unwrapped each gift with vast pleasure and wore as many of them as he could right there, even the garters. He lit up the pipe and said he’d never had a better smoke.

  Which wasn’t quite true, because the pipe wasn’t broken in yet; Pete Manners had had it lying around ever since he’d received it as a gift four years ago from an out-of-town relative who hadn’t known he’d stopped smoking.

  Dan put the tobacco into the bowl very carefully. Tobacco was precious. It was only pure luck that Pat Reilly had decided to try to grow some in his back yard just before what had happened to Peaksville had happened. It didn’t grow very well, and then they had to cure it and shred it and all, and it was just precious stuff. Everybody in town used wooden holders old McIntyre had made, to save on butts.

  Last of all, Thelma Dunn gave Dan Hollis the record she had found.

  Dan’s eyes misted even before he opened the package. He knew it was a record.

  “Gosh,” he said softly. “What one is it? I’m almost afraid to look . . .“

  “You haven’t got it, darling,” Ethel Hollis smiled. “Don’t you remember, I asked about ‘You Are My Sunshine’?”

  “Oh, gosh,” Dan said again. Carefully he removed the wrapping and stood there fondling the record, running his big hands over the worn grooves with their tiny, dulling crosswise scratches. He looked around the room, eyes shining, and they all smiled back, knowing how delighted he was.

  “Happy birthday, darling!” Ethel said, throwing her arms around him and kissing him.

  He clutched the record in both hands, holding it off to one side as she pressed against him. “Hey,” he laughed, pulling back his head. “Be careful—I’m holding a priceless object!” He looked around again, over his wife’s arms, which were still around his neck. His eyes were hungry. “Look . . . do you think we could play it?

  Lord, what I’d give to hear some new music. Just the first part, the orchestra part, before Como sings?”

  Faces sobered. After a minute, John Sipich said, “I don’t think we’d better, Dan.

  After all, we don’t know just where the singer comes in—it’d be taking too much of a chance. Better wait till you get home.”

  Dan Hollis reluctantly put the record on the buffet with all his other presents. “It’s good,” he said automatically, but disappointedly, “that I can’t play it here.”

  “Oh, yes,” said Sipich. “It’s good.” To compensate for Dan’s disappointed tone, he repeated, “It’s good.”

  They ate dinner, the candles lighting their smiling faces, and ate it all right down to the last delicious drop of gravy. They complimented Mom and Aunt Amy on the roast beef, and the peas and carrots, and the tender corn on the cob. The corn hadn’t come from the Fremonts’ cornfield, naturally—everybody knew what was out there, and the field was going to weeds. Then they polished off the dessert—homemade ice cream and cookies. And then they sat back, in the flickering light of the candles, and chatted, waiting for television.

  There never was a lot of mumbling on television night; everybody came and had a good dinner at the Fremonts’, and that was nice, and afterward there was television, and nobody really thought much about that—it just had to be put up with. So it was a pleasant enough get-together, aside from your having to watch what you said just as carefully as you always did everyplace. If a dangerous thought came into your mind, you just started mumbling, even right in the middle of a sentence. When you did that, the others just ignored you until you felt happier again and stopped.

  Anthony liked television night. He had done only two or three awful things on television night in the whole past year.

  Mom had put a bottle of brandy on the table, and they each had a tiny glass of it.

  Liquor was even more precious than tobacco. The villagers could make wine, but the grapes weren’t right, and certainly the techniques weren’t, and it wasn’t very good wine. There were only a few bottles of real liquor left in the village— four rye, three Scotch, three brandy, nine real wine and half a bottle of Drambuie belonging to old McIntyre (only for marriages)—and when those were gone, that was it.

  Afterward everybody wished that the brandy hadn’t been brought out. Because Dan Hollis drank more of it than he should have, and mixed it with a lot of the homemade wine. Nobody thought anything about it at first, because he didn’t show it much outside, and it was his birthday party and a happy party, and Anthony liked these get-togethers and shouldn’t see any reason to do anything even if he was listening. But Dan Hollis got high, and did a fool thing. If they’d seen it coming, they’d have taken him outside and walked him around.

  The first thing they knew, Dan stopped laughing right in the middle of the story about how Thelma Dunn had found the Perry Como record and dropped it and it hadn’t broken because she’d moved faster than she ever had before in her life and caught it. He was fondling the record again, and looking longingly at the Fremonts’

  gramophone over in the corner, and suddenly he stopped laughing and his face got slack, and then it got ugly, and he said, “Oh, Christ!”

  Immediately the room was still. So still they could hear the whirring movement of the grandfather’s clock out in the hall. Pat Reilly had been playing the piano, softly.

  He stopped, his hands poised over the yellowed keys.

  The candles on the dining-room table flickered in a cool breeze that blew through the lace curtains over the bay window.

  “Keep playing, Pat,” Anthony’s father said softly.

  Pat started again. He played “Night and Day,” but his eyes were sidewise on Dan Hollis, and he missed notes.

  Dan stood in the middle of the room, holding the record. In his other hand he held a glass of brandy so hard his hand shook.

  They were all looking at him.

  “Christ,” he said again, and he made it sound like a dirty word. Reverend Younger, who had been talking with Mom and Aunt Amy by the dining-room door, said “Christ,” too—but he was using it in a prayer. His hands were clasped, and his eyes were closed.

  John Sipich moved forward. “Now, Dan. It’s good for you to talk that way, but you don’t want to talk too much, you know.”

  Dan shook off the hand Sipich put on his arm.

  “Can’t even play my record,” he said loudly. He looked down at the record, and then around at their faces. “Oh, my God—” He threw the glassful of brandy against the wall. It splattered and ran down the wallpaper in streaks.

  Some of the women gasped.

  “Dan,” Sipich said in a whisper. “Dan, cut it out.”

  Pat Reilly was playing “Night and Day” louder, to cover up the sounds of the talk.

  It wouldn’t do any good, though, if Anthony was listening. Dan Hollis went over to the piano and stood by Pat’s shoulder, swaying a little. “Pat,” he said, “don’t play that. Play this.” And he began to sing, softly, hoarsely, miserably, “Happy birthday to me, happy birthday to me . . .“

  “Dan!” Ethel Hollis screamed. She tried to run across the room to him. Mary Sipich grabbed her arm and held her back. “Dan,” Ethel screamed again, “stop—”

  “My God, be quiet!” hissed Mary Sipich, and pushed her toward one of the men, who put his hand over her mouth and held her still.

  “Happy birthday, dear Danny,” Dan sang, “happy birthday to me!” He stopped and looked down at Pat Reilly. “Play it, Pat. Play it, so I can sing right. You know I can’t carry a tune unless somebody plays it!”

  Pa
t Reilly put his hands on the keys and began “Lover”—in a slow waltz tempo, the way Anthony liked it. Pat’s face was white. His hands fumbled.

  Dan Hollis stared over at the dining-room door. At Anthony’s mother, and at Anthony’s father, who had gone to join her. “You had him,” he said. Tears gleamed on his cheeks as the candlelight caught them. “You had to go and have him . . .“ He closed his eyes, and the tears squeezed out. He sang loudly, “You are my sunshine . . .

  my only sunshine . . . you make me happy . . . when I am blue . . ."

  Anthony came into the room.

  Pat stopped playing. He froze. Everybody froze. The breeze rippled the curtains.

  Ethel Hollis couldn’t even try to scream—she had fainted.

  ". . . please don’t take my sunshine . . . away . . .“ Dan’s voice faltered into silence. His eyes widened. He put both hands out in front of him, the empty glass in one, the record in the other. He hiccuped and said, “No—”

  “Bad man,” Anthony said, and thought Dan Hollis into something like nothing anyone would have believed possible, and then he thought the thing into a grave deep, deep in the cornfield.

  The glass and the record thumped on the rug. Neither broke.

  Anthony’s purple gaze went around the room.

  Some of the people began mumbling. They all tried to smile. The sound of mumbling filled the room like a far-off approval. Out of the murmuring came one or two clear voices:

  “Oh, it’s a very good thing,” said John Sipich.

  “A good thing,” said Anthony’s father, smiling. He’d had more practice in smiling than most of them. “A wonderful thing.”

  “It’s swell . . . just swell,” said Pat Reilly, tears leaking from eyes and nose, and he began to play the piano again, softly, his trembling hands feeling for “Night and Day.”

  Anthony climbed up on top of the piano, and Pat played for two hours.

  Afterward, they watched television. They all went into the front room, and lit just a few candles, and pulled up chairs around the set. It was a small-screen set, and they couldn’t all sit close enough to it to see, but that didn’t matter. They didn’t even turn the set on. It wouldn’t have worked anyway, there being no electricity in Peaksville.

  They just sat silently, and watched the twisting, writhing shapes on the screen, and listened to the sounds that came out of the speaker, and none of them had any idea of what it was all about. They never did. It was always the same.

  “It’s real nice,” Aunt Amy said once, her pale eyes on the meaningless flickers and shadows. “But I liked it a little better when there were cities outside and we could get real—”

  “Why, Amy!” said Mom. “It’s good for you to say such a thing. Very good. But how can you mean it? Why, this television is much better than anything we ever used to get!”

  “Yes,” chimed in John Sipich. “It’s fine. It’s the best show we’ve ever seen!”

  He sat on the couch with two other men, holding Ethel Hollis flat against the cushions, holding her arms and legs and putting their hands over her mouth so she couldn’t start screaming again.

  “It’s really good!” he said again.

  Mom looked out of the front window, across the darkened road, across Henderson’s darkened wheat field to the vast, endless, gray nothingness in which the little village of Peaksville floated like a soul—the huge nothingness that was most evident at night, when Anthony’s brassy day had gone.

  It did no good to wonder where they were—no good at all. Peaksville was just someplace. Someplace away from the world. It was wherever it had been since that day three years ago when Anthony had crept from her womb and old Doc Bates—

  God rest him—had screamed and dropped him and tried to kill him, and Anthony had whined and done the thing. Had taken the village someplace. Or had destroyed the world and left only the village, nobody knew which.

  It did no good to wonder about it. Nothing at all did any good—except to live as they must live. Must always, always live, if Anthony would let them.

  These thoughts were dangerous, she thought.

  She began to mumble. The others started mumbling, too. They had all been thinking, evidently.

  The men on the couch whispered and whispered to Ethel Hollis, and when they took their hands away she mumbled, too.

  While Anthony sat on top of the set and made television, they sat around and mumbled and watched the meaningless, flickering shapes far into the night.

  Next day it snowed, and killed off half the crops but it was a good day.

  THE COLD EQUATIONS

  by Tom Godwin

  First Published in 1954

  He was not alone.

  There was nothing to indicate the fact but the white hand of the tiny gauge on the board before him. The control room was empty but for himself; there was no sound other than the murmur of the drives—but the white hand had moved. It had been on zero when the little ship was launched from the Stardust; now, an hour later, it had crept up. There was something in the supplies closet across the room, it was saying, some kind of a body that radiated heat.

  It could be but one kind of a body_a living, human body.

  He leaned back in the pilot’s chair and drew a deep, slow breath, considering what he would have to do. He was an EDS pilot, inured to the sight of death, long since accustomed to it and to viewing the dying of another man with an objective lack of emotion, and he had no choice in what he must do. There could be no alternative—

  but it required a few moments of conditioning for even an EDS pilot to prepare himself to walk across the room and coldly, deliberately, take the life of a man he had yet to meet.

  He would, of course, do it. It was the law, stated very bluntly and definitely in grim Paragraph L, Section 8, of Interstellar Regulations: “Any stowaway discovered in an EDS shall be jettisoned immediately following discovery.”

  It was the law, and there could be no appeal.

  It was a law not of men’s choosing but made imperative by the circumstances of the space frontier. Galactic expansion had followed the development of the hyperspace drive, and as men scattered wide across the frontier there had come the problem of contact with the isolated first colonies and exploration parties. The huge hyperspace cruisers were the product of the combined genius and effort of Earth and were long and expensive in the building. They were not available in such numbers that small colonies could possess them. The cruisers carried the colonists to their new worlds and made periodic visits, running on tight schedules, but they could not stop and turn aside to visit colonies scheduled to be visited at another time; such a delay would destroy their schedule and produce a confusion and uncertainty that would wreck the complex interdependence between old Earth and the new worlds of the frontier.

  Some method of delivering supplies or assistance when an emergency occurred on a world not scheduled for a visit had been needed, and the Emergency Dispatch Ships had been the answer. Small and collapsible, they occupied little room in the hold of the cruiser; made of light metal and plastics, they were driven by a small rocket drive that consumed relatively little fuel. Each cruiser carried four EDS’s, and when a call for aid was received the nearest cruiser would drop into normal space long enough to launch an EDS with the needed supplies or personnel, then vanish again as it continued on its course.

  The cruisers, powered by nuclear converters, did not use the liquid rocket fuel, but nuclear converters were far too large and complex to permit their installation in the EDS’s. The cruisers were forced by necessity to carry a limited amount of the bulky rocket fuel, and the fuel was rationed with care, the cruiser’s computers determining the exact amount of fuel each EDS would require for its mission. The computers considered the course coordinates, the mass of the EDS, the mass of pilot and cargo; they were very precise and accurate and omitted nothing from their calculations. They could not, however, foresee and allow for the added mass of a stowaway.

  The Stardust had received t
he request from one of the exploration parties stationed on Woden, the six men of the party already being stricken with the fever carried by the green kala midges and their own supply of serum destroyed by the tornado that had torn through their camp. The Stardust had gone through the usual procedure, dropping into normal space to launch the EDS with the fever serum, then vanishing again in hyperspace. Now, an hour later, the gauge was saying there was something more than the small carton of serum in the supplies closet.

  He let his eyes rest on the narrow white door of the closet. There, just inside, another man lived and breathed and was begin-fling to feel assured that discovery of his presence would now be too late for the pilot to alter the situation. It was too late; for the man behind the door it was far later than he thought and in a way he would find terrible to believe.

  There could be no alternative. Additional fuel would be used during the hours of deceleration to compensate for the added mass of the stowaway; infinitesimal increments of fuel that would not be missed until the ship had almost reached its destination. Then, at some distance above the ground that might be as near as a thousand feet or as far as tens of thousands of feet, depending upon the mass of ship and cargo and the preceding period of deceleration, the unmissed increments of fuel would make their absence known; the EDS would expend its last drops of fuel with a sputter and go into whistling free fall. Ship and pilot and stowaway would merge together upon impact as a wreckage of metal and plastic, flesh and blood, driven deep into the soil. The stowaway had signed his own death warrant when he concealed himself on the ship; he could not be permitted to take seven others with him. He looked again at the telltale white hand, then rose to his feet.