Minor errors were found and the corrections were fed to the automatic pilot. Joe accepted the changes in his orders without comment.
While Morrie and Cargraves did this, Art and Ross were preparing the best meal they could throw together. It was a relief to have weight under their feet and it was a decided relief to their stomachs. Those organs had become adjusted to free fall, but hardly reconciled. Back on firm footing they hollered for solid food.
The meal was over and Cargraves was thinking sadly of his ruined pipe, when the control alarm sounded. Joe the Robot had completed his orders, his cam had run out, he called for relief.
They all scrambled up to the control station. The moon, blindingly white and incredibly huge was shouldering its way into one side of the port. They were so close to it now that their progress was visible, if one looked closely, by sighting across the frame of the port at some fixed object, a crater or a mountain range.
"Whee!" Art yelled.
"Kinda knocks your eyes out, doesn't it?" Ross said, gazing in open wonder.
"It does," agreed Cargraves. "But we've got work to do. Get back and strap yourselves down and stand by for maneuvering."
While he complied, he strapped himself into his chair and then flipped a switch which ordered Joe to go to sleep; he was in direct, manual command of the rocket. With Morrie to coach him by instrument, he put the ship through a jockeying series of changes, gentle on the whole and involving only minor changes in course at any one time, but all intended to bring the ship from the flat conoid trajectory it had been following into a circular orbit around the moon.
"How'm I doin'?" he demanded, a long time later.
"Right in the groove," Morrie assured him, after a short delay.
"Sure enough of it for me to go automatic and swing ship?"
"Let me track her a few more minutes." Presently Morrie assured him as requested. They had already gone into free flight just before Cargraves asked for a check. He now called out to Art and Ross that they could unstrap. He then started the ship to swinging so that the port faced toward the moon and switched on a combination which told Joe that he must get back to work; it was now his business to watch the altitude by radar and to see to it that altitude and speed remained constant.
Art was up at the port, with his camera, by the time he and Morrie had unstrapped.
"Goshawmighty," exclaimed Art, "this is something!" He unlimbered his equipment and began snappihg frantically, until Ross pointed out that his lens cover was still on. Then he steadied down.
Ross floated face down and stared out at the desolation. They were speeding silently along, only two hundred miles above the ground, and they were approaching the sunrise line of light and darkness. The shadows were long on the barren wastes below them, the mountain peaks and the great gaping craters more horrendous on that account. "It's scary," Ross decided. "I'm not sure I like it."
"Want off at the next corner?" Cargraves inquired.
"No, but I'm not dead certain I'm glad I came."
Morrie grasped his arm, to steady himself apparently, but quite as much for the comfort of solid human companionship. "You know what I think, Ross," he began, as he stared out at the endless miles of craters. "I think I know how it got that way. Those aren't volcanic craters, that's certain—and it wasn't done by meteors. They did it themselves!"
"Huh? Who?"
"The moon people. They did it. They wrecked themselves. They ruined themselves. They had one atomic war too many."
"Huh? What the-" Ross stared, then looked back at the surface as if to read the grim mystery there. Art stopped taking pictures.
"How about it, Doc?"
Cargraves wrinkled his brow. "Could be," he admitted. "None of the other theories for natural causes hold water for one reason or another. It would account for the relatively smooth parts we call ‘seas.' They really were seas; that's why they weren't hit very hard."
"And that's why they aren't seas any more," Morrie went on. "They blew their atmosphere off and the seas boiled away at Tycho. That's where they set off the biggest ammunition dump on the planet. It cracked the whole planet. I'll bet somebody worked out a counter-weapon that worked too well. It set off every atom bomb on the moon all at once and it ruined them! I'm sure of it."
"Well," said Cargraves, "I'm not sure of it, but I admit the theory is attractive. Perhaps we'll find out when we land. That notion of setting off all the bombs at once-there are strong theoretical objections to that. Nobody has any idea how to do it."
"Nobody knew how to make an atom bomb a few years ago," Morrie pointed out.
"That's true." Cargraves wanted to change the subject; it was unpleasantly close to horrors that had haunted his dreams since the beginning of World War II. "Ross, how do you feel about the other side of the moon now?"
"We'll know pretty soon," Ross chuckled. "Say—this is the Other Side!"
And so it was. They had leveled off in their circular orbit near the left limb of the moon as seen from the earth and were coasting over the mysterious other face. Ross scanned it closely. "Looks about the same."
"Did you expect anything different?"
"No, I guess not. But I had hoped." Even as he spoke they crossed the sunrise line and the ground below them was dark, not invisible, for it was still illuminated by faint starlight—starlight only, for the earthshine never reached this face. The suncapped peaks receded rapidly in the distance. At the rate they were traveling, a speed of nearly 4000 miles per hour necessary to maintain them in a low-level circular orbit, the complete circuit of the planet would take a little over an hour and a half.
"No more pictures, I guess," Art said sadly. "I wish it was a different time of the month."
"Yes," agreed Ross, still peering out, "it's a dirty shame to be this close and not see anything."
"Don't be impatient," Cargraves told him; "When we start back in eight or nine days, we swing around again and you can stare and take pictures till you're cross-eyed."
"Why only eight or nine days? We've got more food than that."
"Two reasons. The first is, if we take off at new moon we won't have to stare into the sun on the way back. The second is, I'm homesick and I haven't even landed yet." He grinned. In utter seriousness he felt that it was not wise to stretch their luck by sticking around too long.
The trip across the lighted and familiar face of the moon was delightful, but so short that it was like window shopping in a speeding car. The craters and the "seas" were old familiar friends, yet strange and new. It reminded them of the always strange experience of seeing a famous television star on a personal appearance tour-recognition with an odd feeling of unreality.
Art shifted over to the motion-picture camera once used to record the progress of the Starstruck series, and got a complete sequence from Mare Fecunditatis to the crater Kepler, at which point Cargraves ordered him emphatically to stop at once and strap himself down.
They were coming into their landing trajectory. Cargraves and Morrie had selected a flat, unnamed area beyond Oceanus Procellarum for the landing because it was just on the border between the earth side and the unknown side, and thereby fitted two plans: to attempt to establish radio contact with earth, for which direct line-of-sight would be necessary, and to permit them to explore at least a portion of the unknown side.
Joe the Robot was called again and told to consult a second cam concealed in his dark insides, a cam which provided for the necessary braking drive and the final ticklish contact on maneuvering jets and radar. Cargraves carefully leveled the ship at the exact altitude and speed Joe would need for the approach and flipped over to automatic when Morrie signaled that they were at the exact, precalculated distance necessary for the landing.