“No way to tell. A long way, probably. Maybe not anywhere in this galaxy. Some remote place.” Eller reached out suddenly, touching Silvia’s dark-brown hair. He grinned. “You know, your hair is really something to see. The most beautiful hair in the whole universe.”

Silvia laughed. “Any hair looks good to us, now.” She smiled up at him, her red lips warm. “Even yours, Cris.”

Eller gazed down at her a long time. “They were right,” he said at last.

“Right?”

“It is better.” Eller nodded, gazing down at the girl beside him, at her hair and dark eyes, the familiar lithe, supple form. “I agree—There is no doubt of it.”

The Preserving Machine

Doc Labyrinth leaned back in his lawn chair, closing his eyes gloomily. He pulled his blanket up around his knees.

“Well?” I said. I was standing by the barbecue pit, warming my hands. It was a clear cold day. The sunny Los Angeles sky was almost cloud-free. Beyond Labyrinth’s modest house a gently undulating expanse of green stretched off until it reached the mountains—a small forest that gave the illusion of wilderness within the very limits of the city. “Well?” I said. “Then the Machine did work the way you expected?”

Labyrinth did not answer. I turned around. The old man was staring moodily ahead, watching an enormous dun-colored beetle that was slowly climbing the side of his blanket. The beetle rose methodically, its face blank with dignity. It passed over the top and disappeared down the far side. We were alone again.

Labyrinth sighed and looked up at me. “Oh, it worked well enough.”

I looked after the beetle, but it was nowhere to be seen. A faint breeze eddied around me, chill and thin in the fading afternoon twilight. I moved nearer the barbecue pit.

“Tell me about it,” I said.

Doctor Labyrinth, like most people who read a great deal and who have too much time on their hands, had become convinced that our civilization was going the way of Rome. He saw, I think, the same cracks forming that had sundered the ancient world, the world of Greece and Rome; and it was his conviction that presently our world, our society, would pass away as theirs did, and a period of darkness would follow.

Now Labyrinth, having thought this, began to brood over all the fine and lovely things that would be lost in the reshuffling of societies. He thought of the art, the literature, the manners, the music, everything that would be lost. And it seemed to him that of all these grand and noble things, music would probably be the most lost, the quickest forgotten.

Music is the most perishable of things, fragile and delicate, easily destroyed.

Labyrinth worried about this, because he loved music, because he hated the idea that some day there would be no more Brahms and Mozart, no more gentle chamber music that he could dreamily associate with powdered wigs and resined bows, with long, slender candles, melting away in the gloom.

What a dry and unfortunate world it would be, without music! How dusty and unbearable.

This is how he came to think of the Preserving Machine. One evening as he sat in his living room in his deep chair, the gramophone on low, a vision came to him. He perceived in his mind a strange sight, the last score of a Schubert trio, the last copy, dog-eared, well-thumbed, lying on the floor of some gutted place, probably a museum.

A bomber moved overhead. Bombs fell, bursting the museum to fragments, bringing the walls down in a roar of rubble and plaster. In the debris the last score disappeared, lost in the rubbish, to rot and mold.

And then, in Doc Labyrinth’s vision, he saw the score come burrowing out, like some buried mole. Quick like a mole, in fact, with claws and sharp teeth and a furious energy.

If music had that faculty, the ordinary, everyday instinct of survival which every worm and mole has, how different it would be! If music could be transformed into living creatures, animals with claws and teeth, then music might survive. If only a Machine could be built, a Machine to process musical scores into living forms.

But Doc Labyrinth was no mechanic. He made a few tentative sketches and sent them hopefully around to the research laboratories. Most of them were much too busy with war contracts, of course. But at last he found the people he wanted. A small midwestern university was delighted with his plans, and they were happy to start work on the Machine at once.

Weeks passed. At last Labyrinth received a postcard from the university. The Machine was coming along fine; in fact, it was almost finished. They had given it a trial run, feeding a couple of popular songs into it. The results? Two small mouse-like animals had come scampering out, rushing around the laboratory until the cat caught and ate them. But the Machine was a success.

It came to him shortly after, packed carefully in a wood crate, wired together and fully insured. He was quite excited as he set to work, taking the slats from it. Many fleeting notions must have coursed through his mind as he adjusted the controls and made ready for the first transformation. He had selected a priceless score to begin with, the score of the Mozart G Minor

Quintet. For a time he turned the pages, lost in thought, his mind far away. At last he carried it to the Machine and dropped it in.

Time passed. Labyrinth stood before it, waiting nervously, apprehensive and not really certain what would greet him when he opened the compartment. He was doing a fine and tragic work, it seemed to him, preserving the music of the great composers for all eternity. What would his thanks be? What would he find? What form would this all take, before it was over?

There were many question unanswered. The red light of the Machine was glinting, even as he meditated. The process was over, the transformation had already taken place. He opened the door.

“Good Lord!” he said. “This is very odd.”

A bird, not an animal, stepped out. The mozart bird was pretty, small and slender, with the flowing plumage of a peacock. It ran a little way across the room and then walked back to him, curious and friendly. Trembling, Doc Labyrinth bent down, his hand out. The mozart bird came near. Then, all at once, it swooped up into the air.

“Amazing,” he murmured. He coaxed the bird gently, patiently, and at last it fluttered down to him. Labyrinth stroked it for a long time, thinking. What would the rest of them be like? He could not guess. He carefully gathered up the mozart bird and put it into a box.

He was even more surprised the next day when the beethoven beetle came out, stern and dignified. That was the beetle I saw myself, climbing along his red blanket, intent and withdrawn, on some business of its own.

After that came the schubert animal. The schubert animal was silly, an adolescent sheep-creature that ran this way and that, foolish and wanting to play. Labyrinth sat down right then and there and did some heavy thinking.

Just what were survival factors? Was a flowing plume better than claws, better than sharp teeth? Labyrinth was stumped. He had expected an army of stout badger creatures, equipped with claws and scales, digging, fighting, ready to gnaw and kick. Was he getting the right thing? Yet who could say what was good for survival?—the dinosaurs had been well armed, but there were none of them left. In any case the Machine was built; it was too late to turn back, now.

Labyrinth went ahead, feeding the music of many composers into the Preserving Machine, one after another, until the woods behind his house was filled with creeping, bleating things that screamed and crashed in the night. There were many oddities that came out, creations that startled and astonished him. The Brahms insect had many legs sticking in all directions, a vast, platter-shaped centipede. It was low and flat, with a coating of uniform fur. The Brahms insect liked to be by itself, and it went off promptly, taking great pains to avoid the Wagner animal who had come just before.