The entities were utterly, ambitiously evil; their line of defense, apparently, was absolutely impregnable.

The entities were utterly, ambitiously evil; their line of defense, apparently, was absolutely impregnable.

I'll Kill You Tomorrow

By Helen Huber

Illustrated by Kelly Freas

It was not a sinister silence. No silence is sinister until it acquires a background of understandable menace. Here there was only the night quiet of Maternity, the silence of noiseless rubber heels on the hospital corridor floor, the faint brush of starched white skirts brushing through doorways into darkened and semi-darkened rooms.

It was not

But there was something wrong with the silence in the "basket room" of Maternity, the glass-walled room containing row on row, the tiny hopes of tomorrow. The curtain was drawn across the window through which, during visiting hours, peered the proud fathers who did the hoping. The night-light was dim.

The silence should not have been there.

Lorry Kane, standing in the doorway, looked out over the rows of silent baskets and felt her blonde hair tighten at the roots. The tightening came from instinct, even before her brain had a chance to function, from the instincts and training of a registered nurse.

Thirty-odd babies grouped in one room and—complete silence.

Not a single whimper. Not one tiny cry of protest against the annoying phenomenon of birth.

Thirty babies—dead? That was the thought that flashed, unbidden, into Lorry's pretty head. The absurdity of it followed swiftly, and Lorry moved on rubber soles between a line of baskets. She bent down and explored with practiced fingers.

A warm, living bundle in a white basket.

The feeling of relief was genuine. Relief, even from an absurdity, is a welcome thing. Lorry smiled and bent closer.

Staring up at Lorry from the basket were two clear blue eyes. Two eyes, steady and fixed in a round baby face. 

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