The World Turned Upside Down

by Eric Flint

But a nice doctor came in later and answered my question. "Nothing much. Three simple fractures. At your age you'll heal in no time. But we like your company so I'm holding you for observation of possible internal injury."

  "I'm not hurt inside," I told him. "At least, I don't hurt."

  "I told you it was just an excuse."

  "Uh, Doctor?"

  "Well?"

  "Will I be able to fly again?" I waited, scared.

  "Certainly. I've seen men hurt worse get up and go three rounds."

  "Oh. Well, thanks. Doctor? What happened to the other girl? Is she . . . did she . . . ?"

  "Brentwood? She's here."

  "She's right here," Ariel agreed from the door. "May I come in?"

  My jaw dropped, then I said, "Yeah. Sure. Come in."

  The doctor said, "Don't stay long," and left. I said, "Well, sit down."

  "Thanks." She hopped instead of walked and I saw that one foot was bandaged. She got on the end of the bed.

  "You hurt your foot."

  She shrugged. "Nothing. A sprain and a torn ligament. Two cracked ribs. But I would have been dead. You know why I'm not?"

  I didn't answer. She touched one of my casts. "That's why. You broke my fall and I landed on top of you. You saved my life and I broke both your arms."

  "You don't have to thank me. I would have done it for anybody."

  "I believe you and I wasn't thanking you. You can't thank a person for saving your life. I just wanted to make sure you knew that I knew it."

  I didn't have an answer so I said, "Where's Jeff? Is he all right?"

  "He'll be along soon. Jeff's not hurt . . . though I'm surprised he didn't break both ankles. He stalled in beside us so hard that he should have. But Holly . . . Holly my very dear . . . I slipped in so that you and I could talk about him before he got here."

  I changed the subject quickly. Whatever they had given me made me feel dreamy and good, but not beyond being embarrassed. "Ariel, what happened? You were getting along fine—then suddenly you were in trouble."

  She looked sheepish. "My own fault. You said we were going down, so I looked down. Really looked, I mean. Before that, all my thoughts had been about climbing clear to the roof; I hadn't thought about how far down the floor was. Then I looked down . . . and got dizzy and panicky and went all to pieces." She shrugged. "You were right. I wasn't ready."

  I thought about it and nodded. "I see. But don't worry—when my arms are well, I'll take you up again."

  She touched my foot. "Dear Holly. But I won' be flying again; I'm going back where I belong."

  "Earthside?"

  "Yes. I'm taking the Billy Mitchell on Wednesday."

  "Oh. I'm sorry."

  She frowned slightly. "Are you? Holly, you don't like me, do you?"

  I was startled silly. What can you say? Especially when it's true? "Well," I said slowly, "I don't dislike you. I just don't know you very well."

  She nodded. "And I don't know you very well . . . even though I got to know you a lot better in a very few seconds. But Holly . . . listen please and don't get angry. It's about Jeff. He hasn't treated you very well the last few days—while I've been here, I mean. But don't be angry with him. I'm leaving and everything will be the same."

  That ripped it open and I couldn't ignore it, because if I did, she would assume all sorts of things that weren't so. So I had to explain . . . about me being a career woman . . . how, if I had seemed upset, it was simply distress at breaking up the firm of Jones & Hardesty before it even finished its first starship . . . how I was not in love with Jeff but simply valued him as a friend and associate . . . but if Jones & Hardesty couldn't carry on, then Jones & Company would. "So you see, Ariel, it isn't necessary for you to give up Jeff. If you feel you owe me something, just forget it. It isn't necessary."

  She blinked and I saw with amazement that she was holding back tears. "Holly, Holly . . . you don't understand at all."

  "I understand all right. I'm not a child."

  "No, you're a grown woman . . . but you haven't found it out." She held up a finger. "One—Jeff doesn't love me."

  "I don't believe it."

  "Two . . . I don't love him."

  "I don't believe that, either."

  "Three . . . you say you don't love him—but we'll take that up when we come to it. Holly, am I beautiful?"

  Changing the subject is a female trait but I'll never learn to do it that fast. "Huh?"

  "I said, 'Am I beautiful?'"

  "You know darn well you are!"

  "Yes. I can sing a bit and dance, but I would get few parts if I were not, because I'm no better than a third-rate actress. So I have to be beautiful. How old am I?"

  I managed not to boggle. "Huh? Older than Jeff thinks you are. Twenty-one, at least. Maybe twenty-two."

  She sighed. "Holly, I'm old enough to be your mother."

  "Huh? I don't believe that either."

  "I'm glad it doesn't show. But that's why, though Jeff is a dear, there never was a chance that I could fall in love with him. But how I feel about him doesn't matter; the important thing is that he loves you."

  "What? That's the silliest thing you've said yet! Oh, he likes me—or did. But that's all." I gulped. "And it's all I want. Why, you should hear the way he talks to me."

  "I have. But boys that age can't say what they mean; they get embarrassed."

  "But—"

  "Wait, Holly. I saw something you didn't because you were knocked cold. When you and I bumped, do you know what happened?"

  "Uh, no."

  "Jeff arrived like an avenging angel, a split second behind us. He was ripping his wings off as he hit, getting his arms free. He didn't even look at me. He just stepped across me and picked you up and cradled you in his arms, all the while bawling his eyes out."

  "He did?"

  "He did."

  I mulled it over. Maybe the big lunk did kind of like me, after all.

  Ariel went on, "So you see, Holly, even if you don't love him, you must be very gentle with him, because he loves you and you can hurt him terribly."

  I tried to think. Romance was still something that a career woman should shun . . . but if Jeff really did feel that way—well . . . would it be compromising my ideals to marry him just to keep him happy? To keep the firm together? Eventually, that is?

  But if I did, it wouldn't be Jones & Hardesty; it would be Hardesty & Hardesty.

  Ariel was still talking: "—you might even fall in love with him. It does happen, hon, and if it did, you'd be sorry if you had chased him away. Some other girl would grab him; he's awfully nice."

  "But—" I shut up for I heard Jeff's step—I can always tell it. He stopped in the door and looked at us, frowning.

  "Hi, Ariel."

  "Hi, Jeff."

  "Hi, Fraction." He looked me over. "My, but you're a mess."

  "You aren't pretty yourself. I hear you have flat feet."

  "Permanently. How do you brush your teeth with those things on your arms?"

  "I don't."

  Ariel slid off the bed, balanced on one foot. "Must run. See you later, kids."

  "So long, Ariel."

  "Good-by, Ariel. Uh . . . thanks."

  Jeff closed the door after she hopped away, came to the bed and said gruffly, "Hold still."

  Then he put his arms around me and kissed me.

  Well, I couldn't stop him, could I? With both arms broken? Besides, it was consonant with the new policy for the firm. I was startled speechless because Jeff never kisses me, except birthday kisses, which don't count. But I tried to kiss back and show that I appreciated it.

  I don't know what the stuff was they had been giving me but my ears began to ring and I felt dizzy again.

  Then he was leaning over me. "Runt," he said mournfully, "you sure give me a lot of grief."

  "You're no bargain yourself, flathead," I answered with dignity.

  "I suppose not." He looked me over sadly. "What are you crying for?"

  I didn
't know that I had been. Then I remembered why. "Oh, Jeff—I busted my pretty wings!"

  "We'll get you more. Uh, brace yourself. I'm going to do it again."

  "All right." He did.

  I suppose Hardesty & Hardesty has more rhythm than Jones & Hardesty.

  It really sounds better.

  Afterword by Eric Flint

  Once we settled on Clarke's Rescue Party as the opening story for the anthology, the choice for the second story was practically automatic: This one.

  Well . . . not quite. The part that was more or less automatic was that it would be some story by Robert Heinlein. The question of which story in particular, however, was something we had to kick back and forth for a while.

  We faced a bit of a problem. For all of us as teenagers, the Heinlein was not really the Heinlein who wrote short stories. It was the Heinlein who wrote that seemingly inexhaustible fountain of young adult novels: Rocket Ship Galileo, Citizen of the Galaxy, Have Spacesuit—Will Travel, Tunnel in the Sky, Time for the Stars, The Star Beast, Farmer in the Sky, Space Cadet, The Rolling Stones, Starman Jones . . . the list seemed to go on and on.

  If books had infinite pages—or book buyers had infinitely deep pockets—we would have selected one of those short YA novels for the anthology. Alas, pages are finite and the pockets of customers more finite still, so we had to find another alternative.

  We chose this story, because of all Heinlein's short fiction it probably best captures the spirit of his great young adult novels. Most of Heinlein's short fiction is quite different, often much grimmer, and—speaking for me, at least, if not necessarily Jim or Dave—not something which had much of an impact on me in my so-called formative years.

  Plus, there was another bonus. Again, for me at least. I'm sure I first read this story when I was thirteen. I think that because I remember being absolutely fascinated by the fact that: a) the protagonist from whose viewpoint the story is told is a girl; b) she was really bright; c) she was often confused by her own motives and uncertain of herself, for all that she pretended otherwise.

  Leaving factor "a" aside, factors "b" and "c" described me at that age to a T. That bizarre age in a boy's life when girls had gone from being a very familiar, well-understood and mostly boring phenomenon to something that had suddenly become incredibly mysterious, even more fascinating—and completely confusing.

  After reading the story, I remember thinking that I really, really hoped Heinlein knew what he was talking about—and that the depiction of women and girls you generally ran across in science fiction of the time was baloney. With few exceptions, in SF of the time, a female character was doing well if she achieved one-dimensionality. And that dimension was invariably good looks. This was no help at all. I already knew girls were good-looking. What I needed to know was everything else—everything that Heinlein had put at the center of his story.

  A year later I was fourteen and I had my first girlfriend, who remained so throughout my high school years. And whatever doubts I might have had that Robert A. Heinlein was the Heinlein were dispelled forever.

  Code Three

  by Rick Raphael

  Preface by Eric Flint

  This story made its way into the anthology by accident. We had never planned to include it at the beginning. In fact, none of us had even remembered the story, or the author—whose career in science fiction only lasted a few years and ended long ago. Instead, we'd wanted to include a story by Eric Frank Russell, a writer whom we'd all enjoyed for years and who had been especially significant for me as a youngster.

  Alas, the decision on which stories get included in an anthology like this aren't simply made by the editors. The estates (or, in some cases, still-living authors) obviously have a say in the matter also. And, in the case of Eric Frank Russell, the agency representing the estate proved too difficult for us to deal with. (Never mind the details. Expletives would have to be deleted. Many many many expletives.)

  I was the one who handled the negotiations with that estate, and after they finally fell through, I was in a foul mood. I'd really wanted a Russell story. So I decided to work off my frustration with some long-postponed manual labor: unpacking several big boxes of old science fiction magazines I'd purchased for my editing work and filing them away.

  Halfway through the first box, which was full of old Analog magazines, a cover illustration caught my eye. Jumped out at me, to be more precise. In a split second, I not only recognized that cover but I remembered the story it illustrated and the name of the author—Rick Raphael's novella Code Three, which I hadn't read in something like forty years but now recalled very vividly.

  This was . . . a very good sign. So I immediately sat down and read the story, wondering if I'd still like it as much as I could remember liking it as a teenager.

  As it happened, if anything, I liked it even more. As an experienced writer now well into middle age—being charitable to myself—I could spot little subtleties and nuances which I'm sure I missed as a sixteen-year-old.

  I then called Dave on the phone and I began describing the story to him. Before I'd gotten out more than three sentences, he remembered it also—even though, like me, he hadn't read it in many years.

  Oh, a very good sign.

  So, here it is. The third story of the anthology, to serve all of us as a reminder that science fiction was constructed by many people, not simply a small number of famous writers. Rick Raphael came and went, but he had his moment in the sun.

  The late afternoon sun hid behind gray banks of snow clouds and a cold wind whipped loose leaves across the drill field in front of the Philadelphia Barracks of the North American Continental Thruway Patrol. There was the feel of snow in the air but the thermometer hovered just at the freezing mark and the clouds could turn either into icy rain or snow.

  Patrol Sergeant Ben Martin stepped out of the door of the barracks and shivered as a blast of wind hit him. He pulled up the zipper on his loose blue uniform coveralls and paused to gauge the storm clouds building up to the west.

  The broad planes of his sunburned face turned into the driving cold wind for a moment and then he looked back down at the weather report secured to the top of a stack of papers on his clipboard.

  Behind him, the door of the barracks was shouldered open by his junior partner, Patrol Trooper Clay Ferguson. The young, tall Canadian officer's arms were loaded with paper sacks and his patrol work helmet dangled by its strap from the crook of his arm.

  Clay turned and moved from the doorway into the wind. A sudden gust swept around the corner of the building and a small sack perched atop one of the larger bags in his arms blew to the ground and began tumbling towards the drill field.

  "Ben," he yelled, "grab the bag."

  The sergeant lunged as the sack bounded by and made the retrieve. He walked back to Ferguson and eyed the load of bags in the blond-haired officer's arms.

  "Just what is all this?" he inquired.

  "Groceries," the youngster grinned. "Or to be more exact, little gourmet items for our moments of gracious living."

  Ferguson turned into the walk leading to the motor pool and Martin swung into step beside him. "Want me to carry some of that junk?"

  "Junk," Clay cried indignantly. "You keep your grimy paws off these delicacies, peasant. You'll get yours in due time and perhaps it will help Kelly and me to make a more polished product of you instead of the clodlike cop you are today."

  Martin chuckled. This patrol would mark the start of the second year that he, Clay Ferguson and Medical-Surgical Officer Kelly Lightfoot had been teamed together. After twenty-two patrols, cooped up in a semiarmored vehicle with a man for ten days at a time, you got to know him pretty well. And you either liked him or you hated his guts.

  As senior officer, Martin had the right to reject or keep his partner after their first eleven-month duty tour. Martin had elected to retain the lanky Canadian. As soon as they had pulled into New York Barracks at the end of their last patrol, he had made his decisions. Afte
r eleven months and twenty-two patrols on the Continental Thruways, each team had a thirty-day furlough coming.

  Martin and Ferguson had headed for the city the minute they put their signatures on the last of the stack of reports needed at the end of a tour. Then, for five days and nights, they tied one on. MSO Kelly Lightfoot had made a beeline for a Columbia Medical School seminar on tissue regeneration. On the sixth day, Clay staggered out of bed, swigged down a handful of antireaction pills, showered, shaved and dressed and then waved good-by. Twenty minutes later he was aboard a jet, heading for his parents' home in Edmonton, Alberta. Martin soloed around the city for another week, then rented a car and raced up to his sister's home in Burlington, Vermont, to play Uncle Bountiful to Carol's three kids and to lap up as much as possible of his sister's real cooking.

  While the troopers and their med officer relaxed, a service crew moved their car down to the Philadelphia motor pool for a full overhaul and refitting for the next torturous eleven-month tour of duty.

  The two patrol troopers had reported into the Philadelphia Barracks five days ago—Martin several pounds heavier courtesy of his sister's cooking; Ferguson several pounds lighter courtesy of three assorted, starry-eyed, uniform-struck Alberta maidens.

  They turned into the gate of the motor pool and nodded to the sentry at the gate. To their left, the vast shop buildings echoed to the sound of body-banging equipment and roaring jet engines. The darkening sky made the brilliant lights of the shop seem even brighter and the hulls of a dozen patrol cars cast deep shadows around the work crews.

  The troopers turned into the dispatcher's office and Clay carefully placed the bags on a table beside the counter. Martin peered into one of the bags. "Seriously, kid, what do you have in that grab bag?"

  "Oh, just a few essentials," Clay replied. "Pate de foie gras, sharp cheese, a smidgen of cooking wine, a handful of spices. You know, stuff like that. Like I said—essentials."