diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-23 08:24:36 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-23 08:24:36 -0800 |
| commit | c336cad6e3e4d5d83e36d4614108318989b94e93 (patch) | |
| tree | 5a86a0e1cbe9ae57c39647beaaccfea9ed8c1519 /old/64632-h | |
| parent | 717245c44f4c9260199b0546281f219e941633a6 (diff) | |
Diffstat (limited to 'old/64632-h')
| -rw-r--r-- | old/64632-h/64632-h.htm | 1285 | ||||
| -rw-r--r-- | old/64632-h/images/cover.jpg | bin | 256896 -> 0 bytes | |||
| -rw-r--r-- | old/64632-h/images/illus1.jpg | bin | 159872 -> 0 bytes | |||
| -rw-r--r-- | old/64632-h/images/illus2.jpg | bin | 107439 -> 0 bytes |
4 files changed, 0 insertions, 1285 deletions
diff --git a/old/64632-h/64632-h.htm b/old/64632-h/64632-h.htm deleted file mode 100644 index d74fa50..0000000 --- a/old/64632-h/64632-h.htm +++ /dev/null @@ -1,1285 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=us-ascii" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of Cargo to Callisto, by Jay B. Drexel. - </title> - <link rel="coverpage" href="images/cover.jpg" /> - - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2 { - text-align: center; /* all headings centered */ - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} - -.center {text-align: center;} - -.right {text-align: right;} - -/* Images */ -.figcenter { - margin: auto; - text-align: center; -} - -.caption p -{ - text-align: center; - text-indent: 0; - margin: 0.25em 0; -} - -div.titlepage { - text-align: center; - page-break-before: always; - page-break-after: always; -} - -div.titlepage p { - text-align: center; - text-indent: 0em; - font-weight: bold; - line-height: 1.5; - margin-top: 3em; -} - - - </style> - </head> -<body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Cargo To Callisto, by Jay B. Drexel</div> - -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Cargo To Callisto</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Jay B. Drexel</div> - -<div style='display:block; margin:1em 0'>Release Date: February 25, 2021 [eBook #64632]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK CARGO TO CALLISTO ***</div> - - -<div class="titlepage"> - -<h1>Cargo to Callisto</h1> - -<h2>By JAY B. DREXEL</h2> - -<p>Four <i>Aarnian</i> criminals—vicious and<br /> -deadly—fled silently into the Martian night;<br /> -and grimly the Patrol threw out an airtight<br /> -dragnet. Nothing human could have escaped ...<br /> -but what's human about an <i>Aarnian</i>?</p> - -<p>[Transcriber's Note: This etext was produced from<br /> -Planet Stories November 1950.<br /> -Extensive research did not uncover any evidence that<br /> -the U.S. copyright on this publication was renewed.]</p> - -</div> - -<hr class="chap" /> - -<p>Sarah emerged from the surface of the Great Canal as sleek and brown -as a seal. Laughing and sputtering, she jerked her head once over each -round shoulder, parting her soaked hair and revealing her face.</p> - -<p>"Try that once again!" she flung at Joe.</p> - -<p>Joe Caradac ducked her again, and Kent shouted something from the bank -that wasn't quite audible over the squeals and splashes.</p> - -<p>"What?" Joe held his wife's head firmly between his knees. "What'd you -say, Kent?"</p> - -<p>His Senior Intendant's grin widened as he cupped his hands over it to -shout again:</p> - -<p>"I said—you'll drown the poor thing!"</p> - -<p>Joe grunted as Sarah cold-bloodedly located a nerve-center in his -thigh and bit it. "Not this thing—" he released her and she bobbed up -swearing in sand-coast Martian—"they had to rope it out of a canal to -teach it to walk!"</p> - -<p>He narrowed his grey eyes humorously and poised for the attack, but -Sarah had conceded and was swimming toward the bank. The setting sun -struck a series of glowing V's in her wake. Joe rubbed his tingling leg -and followed. They reached the green slope at the same time and big -Kent handed them up with ease.</p> - -<p>"Ray's watching the franks," he said, "and I've been watching Ray and -I think we'd better get up there or he won't be able to hold off much -longer. His inner man is showing through."</p> - -<hr class="tb" /> - -<p>The pianist's dark, saturnine face peered at them over the fire as they -came up and he rose, wiping his hands carelessly on his sport tunic. -He had evidently gone into the canal-skimmer and changed out of his -bathing suit.</p> - -<p>"How do," he greeted dourly; "the damned thing itched so I took it off."</p> - -<hr class="chap" /> - -<div class="figcenter"> - <img src="images/illus2.jpg" alt=""/> -</div> - -<hr class="chap" /> - -<p>Joe gave himself a last swipe with the towel and tossed it through -the open hatch of the skimmer. Sarah carried her towel into the boat -and came out presently in a suede skirt and bolero, looking rubbed -down and delectable. Joe's wife was half Martian, and it showed in her -long, slender eyebrows and delicately cleft nose and chin. She looked -worriedly at the three men busy with the frankfurters.</p> - -<p>"There's something on the telaudio," she said. "Come in and listen."</p> - -<p>"What is it?" Joe asked.</p> - -<p>"Something about somebody escaping from Mars Detain."</p> - -<p>Ray's humming stopped. He'd been practicing wrist octaves on a flat -rock and his long hand hung motionless for a moment as if he were -reaching for something. Kent set his frank across the top of his coffee -cup—he was always careful about everything—and stood up.</p> - -<p>Joe looked at his wife, looked at her eyes. They were frightened.</p> - -<p>"That's pretty near here, isn't it?" Sarah said. She moved back to let -the three men into the boat. They grouped around the telaudio.</p> - -<p>"I don't think there's anything to worry about," Kent said slowly. -"They're bound to catch the men—"</p> - -<p>"They aren't men."</p> - -<p>The four listened.</p> - -<p>"—ruthless <i>Aarnians</i>. This warning cannot be taken too seriously. -Detain is doing everything in its power to recapture the four criminals -but, as is known, the <i>Aarnian</i> psyche is able to leave its body at -will and inhabit the body of another entity, subjugating the mind of -its host and contro—"</p> - -<p>"My God," Ray whispered, "I've heard of those devils!"</p> - -<p>"—in all likelihood will seek to escape from Mars. To prevent this, -all persons now holding tickets for interworld travel must submit to -being psycho-screened before entering liners. No more tickets will be -sold—"</p> - -<p>Sarah's eyes were wide and round. "They'd have to leave their bodies -behind—here on Mars!"</p> - -<p>Big Kent—because he was one of the Caradacs' oldest friends and could -do such things—put his arm around her shoulders and squeezed. She was -shivering.</p> - -<p>"—tenant Smith of Detain informs us that the <i>Aarnians</i> are unable to -pronounce certain consonantal diphthongs such as jee and jay—even if -occupying bodies that can normally pronounce such sounds. This is very -important, as it may be an only possible means of identification, for -the <i>Aarnians</i> will undoubtedly seek new bod—"</p> - -<p>Sarah switched off the telaudio, her brown face openly sick. She bit -her lip and looked at each of the three men surrounding her.</p> - -<p>"That gives me the shivers," she said. "Let's go home."</p> - -<p>After that they didn't talk much. Under the red twilight, they packed -up the pots and pans, leaving the unwanted food for the night-crawling -<i>nolls</i>. They spent a lot of time looking over their shoulders as they -did this, although each tried to conceal it from the others. At last -the skimmer moved silently away from the bank and pointed its nose at -the distant haze that was Ofei, By the Great Canal.</p> - -<hr class="tb" /> - -<p>At precisely seven o'clock the telaudio on the headboard of Joe's -bed turned itself on. Sounds pricked the balloon of his disturbed -slumber, tugged his mind out to wakefulness. He rolled over and sat up, -listening, rubbing his lanky legs.</p> - -<p>Instead of the usual symphonic music, he heard an urgent voice, -obviously ad-libbing:</p> - -<p>"—be very, <i>very</i> careful. The criminals—the <i>Aarnians</i>—have still -not been found. All residents of Ofei and vicinity are warned—this -warning cannot be overemphasized—"</p> - -<p>Joe reached out and clicked on the screen. The announcer's tunic was -wrinkled, his sash was awry. He looked as if he'd been up all night.</p> - -<p>"—are advised to stay within the city limi—"</p> - -<p>Joe snapped off the telaudio and glanced over at Sarah's bed. She was -snoring delicately, one smooth arm pillowing her mass of blue-black -hair. Better that she doesn't hear any more about that business, he -decided firmly.</p> - -<p>Joe liked the simple life. No servants, no flunkies, although he could -have afforded a dozen. Five sunshiny rooms on the Great Canal, with a -nice view of Mars Memorial Park on the bank opposite. He robed himself -against the early morning chill and headed for the kitchen. His head -ached faintly and, to judge by what little he could remember of it, -he'd had a dilly of a nightmare. Something about ... being chased, or -something? Or smothered by a....</p> - -<p>Even as he stopped in his tracks to try to pin it down, the memory -broke, dissolved as if in flight. Frowning, he pushed through the -kitchen door and crossed to the deep-freeze, slid it open and rummaged -in it.</p> - -<p>The nightmare wasn't important surely, but he mulled it over with -interest as he prepared breakfast, for Joe, being rather well adjusted, -dreamed rarely, and then mostly about Iowa, back on Earth ... a -long-ago picture of a twelve-year-old boy, his first day in college; -the boy sitting under his shining Projector, surrounded by a group -of thunderstruck Psychologists; the quick death of their initial -skepticism, and in its place a growing wonder as it became evident -that, although a History spool was whirling in the scanner and the -thought-helmet functioning to perfection, the boy's mind was receiving -neither spoken text nor images....</p> - -<p>"You don't feel anything?" a Psychologist asked skeptically.</p> - -<p>Joe closed his eyes. There was a low, unmusical humming in his ears and -that was all. He tried to shake his head and couldn't, so he said: "No, -I don't."</p> - -<p>"When was the World Federation formed?"</p> - -<p>"I don't know."</p> - -<p>"Are you lying?"</p> - -<p>"No."</p> - -<p>One of the other Psychologists standing nearby looked up from the -little box he held in his hand and said that Joe wasn't lying.</p> - -<p>The first Psychologist raised his eyebrows. "We'll try another -Projector."</p> - -<p>While Technicians dismantled Joe's Projector and examined it for shorts -or haywire, the Psychologists had Joe sit down under all the other -Projectors in 1stY-Cubicle 149. Then they tried 148 and 150.</p> - -<p>"It's some kind of block," the first Psychologist said finally, looking -profound to cover up his tizzy. "There's some kind of barrier in his -mind."</p> - -<p>Joe Caradac clenched his fists. "That's not true—I want to learn!"</p> - -<p>"Then you probably will, boy—" the Psychologist sat down to fill in -some forms—"but you'll have to go back three hundred years to do it. -You'll have to learn from books!"</p> - -<p>There the dream would simply end, for no fantasy of wish-fulfillment -could have exceeded in satisfaction Joe's actual conquest of this -problem. At eighteen he wore thick glasses—he preferred them to -contacts or artificial irises. At twenty he took tests contrived -especially for him by the members of Central Education assigned to his -case. He was awarded equivalence degrees in Business Administration, -Metatomics and Interplanetary Law. His marks were the highest of the -year and Joe Caradac's name was briefly in the newsphones.</p> - -<p>He started with the New Chicago offices of Mars Imports and Exports -as a mercury. After six weeks of flying back and forth with memos he -traded his anti-gravs for a desk.</p> - -<p>And on June 32, 2401, the newly appointed Regional Buyer for M. I. and -E. got married and was flown to Mars by a chartered spacer to take -command of the regional office at Ofei, By the Great Canal....</p> - -<hr class="tb" /> - -<p>He was putting the finishing touches on breakfast when he heard a groan -and the sound of a stretch from the bedroom. When he turned around, -Sarah was standing in the doorway.</p> - -<p>Joe's sandy eyebrows went up. His wife was certainly not a modest -woman, but considering even that, this morning was an agreeable -surprise. Her eyes were still dull—he guessed that she'd worried about -those whatyoucallits after going to bed—but she was smiling broadly. -Joe began to have visions of missing work for half a day. He smiled -back at her and she laughed a little.</p> - -<p>"<i>Hohn, Uarnl!</i>" she said.</p> - -<p>Joe was thrusting halved oranges into the juicer. He turned off the -machine and grinned.</p> - -<p>"You'll have to talk plainer than that, little monkey," he said. He -held out a glass of juice. "Drink this—it'll wake you—up—" The last -word faded into an astonished silence.</p> - -<p>Then Joe said, "Hey—come back!" He set down the glass and went into -the bedroom.</p> - -<p>She was lying on her bed, her face hidden. Joe dropped onto the edge of -the bed and put a tentative hand on her back.</p> - -<p>"Hey now," he said softly, "if that's the way you feel about it I'll -juice up some grapefruit." He moved his hand down and spanked lightly. -"Hein?"</p> - -<p>She didn't look up. She had turned her head and was looking at the -corner of the room by Joe's bed.</p> - -<p>"I do not feel well. Go away."</p> - -<p>Joe's face was immediately concerned. He bent over her, reached for a -wrist. "What's the matter, Sarah? Can I get you anything?" The wrist -hung limply in his hand.</p> - -<p>"No. Go away."</p> - -<p>Joe straightened up and drew his eyebrows together in thought. Sarah -was usually tearful and pretty much of a leech when she wasn't feeling -well. Excessive commiserations and breakfast in bed were the rule at -such times.</p> - -<p>"Do you want me to get Doc Halprin?"</p> - -<p>The blue-black head shook from side to side.</p> - -<p>"So what am I supposed to do, monkey? I hate to leave you this way."</p> - -<p>"Go away."</p> - -<p>"But can't I—"</p> - -<p>"Go away, damn you!"</p> - -<p>Joe stood up abruptly. He clenched his fists and looked at his wife's -still form and gradually the anger dulled and left him. He had no -right to be angry. Everybody got tempermental once in a while.</p> - -<p>But this was the first time she had ever cursed him.</p> - -<p>"O.K.," he said softly. "I'll see you tonight."</p> - -<hr class="tb" /> - -<p>The regional offices of Mars Imports and Exports sat upon a hill at -the end—or the beginning—of Ila Boulevard, depending upon which -way you were going. It was twenty-five-hundred feet of silver and -native marble, and covered four city blocks, and Joe Caradac was top -man—literally—since his office and personal staff took up the whole -two-hundred and fifty-first floor.</p> - -<p>His morning mail—about twelve letters weeded out of the daily -thousands—was gotten out of the way with skill and dispatch. Grinning, -he propped his feet on the low, curving window sill and said: "Miss -Kal—take an audiogram."</p> - -<p>Miss Kal used two of her arms to adjust pad and stylus, looking up -expectantly. Her other arms were busy transcribing a previously -dictated letter into Venusian—her native tongue, although she spoke -sixty-eight—and tugging at a humidified legging that had somehow -worked down almost to the floor.</p> - -<p>"My dearest, darling monkey—" Joe began. Miss Kal looked up again in -amazement. Joe grinned at her and said, "It's to my wife."</p> - -<p>Miss Kal nodded wisely and began to write.</p> - -<p>"—I am sending this from my dark and dismal office," Joe went on. It -was a habit they had when anything went wrong at breakfast. Joe had -first proposed by audiogram.</p> - -<p>He casually watched a skimmer that was in danger of creating a honey of -a traffic jam down below. Didn't that schlemiel know his left from his -right?</p> - -<p>"—Where was I? Oh, yes—my dark and dismal office." Joe scratched a -cigarette alight, blew a happy smoke ring. "I hope that you are feeling -much, <i>much</i> better and that you will take luncheon with me in the -Pluto Room of the you-know-what Hotel—" His mind went back to those -honeymoon days and he lost track of his dictation again. Another smoke -ring, a somewhat more thoughtful one.</p> - -<p>"You-know-what Hotel—" said Miss Kal phlegmatically.</p> - -<p>"Yes—ah—just end it 'at one fifteen sharp, your everloving Joe.'"</p> - -<p>There was a knock on the door and Miss Kal set down her pad and stylus -and started to get up. Joe was on his feet and around the desk in a -second.</p> - -<p>"Stay right where you are," he smiled; "I need the exercise."</p> - -<p>Miss Kal smiled also and settled back into her specially built chair -with its temperature and humidity controls. A present from Mr. Caradac. -He was such a nice being to work for.</p> - -<p>Joe opened the door, and said, "Oh, hullo, Kent. Since when are you -knocking?"</p> - -<p>Big Kent nodded formally to Miss Kal and winked at Joe. He said, "Yoe, -there's something I'd like to talk over with you in private."</p> - -<p>With a sigh, Miss Kal rose again and made her way through the other -door into her little office. The door closed behind her.</p> - -<p>Kent let out a long breath. He smiled at Joe and the smile turned into -a laugh that had an odd sound of triumph.</p> - -<p>"<i>Hohn, Uarnl</i>," he said, and laughed again. "<i>Ut sinna d'yonlwar?</i>"</p> - -<p>Joe sat down behind his desk and looked at the big man. Hone you-arnel. -Wasn't that what Sarah had said—or something very much like it? He -shook his head.</p> - -<p>"You wanted to talk to me about something, Kent? What are you and Sarah -cooking up with this gibberish?"</p> - -<p>The brilliant Martian sunlight—not as dim as had been anticipated in -the days before space travel—came through the ceiling-high windows, -struck little lights here and there from the bouquet of Venusian -Glass-moss that Miss Kal tended so carefully. It slanted across Kent's -big face as he looked at Joe for a long moment, giving his left eye a -pale, shallow lustre and throwing the shadow of his jutting nose down -over his mouth. He opened and closed his hands, and said:</p> - -<p>"Nothing. It'll wait, I guess." His gaze wandered over the room and -settled on a corner that was empty save for a throw rug—a relic of -Caradac's Iowa past. Kent's mouth tightened into a thin line. He stared -at the corner.</p> - -<p>"It'll wait—for a while," he said stiffly and opened the door and went -into the outer office. Bone-faced, he walked toward the transveyor belt.</p> - -<p>"Mr. Kent—Mr. Kent!" The big man's Mercurian secretary rose out of a -chair near the door, his voice quacking from the speaker set into his -fishbowl helmet.</p> - -<p>"Yes?"</p> - -<p>"They tolt me that you hat gone to Mr. Caradac's office, sir. I've been -trying to finte you all morning, sir. A laty, sir, on the visiphone. -She has callt many times—many times—"</p> - -<p>"Thank you," Kent said tonelessly. "I know who it is."</p> - -<hr class="tb" /> - -<p>Joe Caradac stared in astonishment at the door. First Sarah—now Kent. -This seemed to be the day for everybody to blast in orbits ... well, -hell ... he shrugged his shoulders and called Miss Kal back out of her -office. She dropped into her chair with a sigh and they picked up the -day's business from where it had fallen.</p> - -<p>San-Vika of Saturn Enterprises was threatening all kinds of things if -he didn't receive his shipment of ato-rotors on the very next flight. -Joe didn't waste much time with that. One of the many things that made -him a top executive was that he knew how to deal with phonies. He told -San-Vika—via spacephone—that he could go stick his heads in a waste -eliminator and push the button, and that if he wanted to get nasty, M. -I. and E. had an army of lawyers hanging around just itching to get -their teeth into last year's insurance double-deal.</p> - -<p>"We let everybody get away with it—once!" Joe told him and cut the -suddenly fawning image off the screen. M. I. and E.'s investigators, he -thought absently, could certainly give the Sol Secret Service a run for -their credits. Now that he had tactfully gotten San-Vika straightened -out, he might as well release those ato-rotors to be shipped.</p> - -<p>At twelve fifteen an audiogram came from Sarah. <i>I don't feel well -enough to come. Love, S.</i> Well, at least it was an improvement in tone.</p> - -<p>At one o'clock, Miss Kal went into her office to open the mysterious -little package of lunch that she brought with her every day. Joe -stretched out his legs on the window sill and looked at the traffic jam -below. That driver had really done a fine job. There were three Patrol -skimmers circling the mess, darting to and fro like angry wasps.</p> - -<p>He didn't feel much like eating. Breakfast and supper were his big -meals—the habit was a long-standing one. However, he thought, this -morning's breakfast hadn't been much to rave about. Orange juice, some -burned Pohl, some undercooked sand-hoppers.</p> - -<p>He switched on the inter-office visiphone.</p> - -<p>"I would save you the trouble," he said, when Miss Kal's face appeared, -"but they built this place so that all of my inside calls have to be -routed through your selective tentacles."</p> - -<p>"The usual, Mr. Caradac?"</p> - -<p>"The usual."</p> - -<p>Joe was rather proud of the fact that everything in his division of -M. I. and E. worked smoothly and efficiently—even the kitchens. In a -little less than forty seconds a portion of his desk folded back and -the "usual" appeared on an elevator tray. A pot of light coffee and -some doughnuts with powdered brown sugar.</p> - -<p>Joe dunked the solid portion of his lunch and considered the morning's -peculiar happenings. Apparently unrelated incidents that were related -in part always intrigued him. There was usually a logical reason -for parallels. The trick, he thought, was to concentrate not on the -"coincidences" themselves but to examine the circumstances under which -they occurred.</p> - -<p>Sarah's illness—Kent's queer behavior. Not obviously connected. -Separately neurotic. Yet what was it Kent had said that had reminded -him of Sarah's strange greeting?</p> - -<p>Hone you-arnel?</p> - -<p>The two had played practical jokes on him before. He grinned. This was -probably one of their special five-day jobs, designed to make him into -a shattered wreck by Friday so Sarah could duck him on Saturday and get -by with it.</p> - -<p>Joe repeated the syllables aloud, trying to make some sense out of them:</p> - -<p>"Hone you-arnel."</p> - -<hr class="tb" /> - -<p>Instantly he was on his feet fighting, his lips raving silently. His -big chair tipped back and fell over to the floor.</p> - -<p>A furious, icily cold intrusion was being made upon his mind. He stood -with feet planted on either side of the overturned chair and threw the -force off but it came back again and again. The office was suddenly -oppressive and stifling, and the objects about him were small and -crystal clear, as if seen through the wrong end of a hand galaxiscope. -The churning, utterly loathsome invasion surged up like a wave roaring -against a reef—and fell back and away in horrible desperation.</p> - -<p>From a million miles away he heard—or felt—a voice. It said: -"<i>Uarnl—yes, Uarnl!</i>" and it said other things, raging things, that -Joe could not understand.</p> - -<p>Then it was gone. As suddenly as it had come. The office regained its -normal perspective. The bright sunlight, reflected now from the tall -buildings across the Great Canal, erased the ragged, black hole out of -his consciousness.</p> - -<p>Painfully he righted the chair and sank into it. His lungs felt pressed -in and stale, like the inside of a folded blanket. He took a deep -breath, shoved his wet palms hard at the top of the desk.</p> - -<p><i>Uarnl.</i> The nightmare.</p> - -<p>It came back to him as dreams rarely do: down to its last beastly -detail. A dream of fear and peril—a running dream—and not a dream, -after all. <i>Uarnl.</i> He looked at the corner of the room, at the -colorful throw rug. It lay there under the sun, brighter than it had -been, as if a pane of glass had been lifted from it.</p> - -<p>After a while he got up and went to the door of Miss Kal's office. She -looked up vaguely, concealing a small, resigned lizard under her jacket.</p> - -<p>"Miss Kal," Joe said blindly, "do you have my morning papers?"</p> - -<p>He took the facsimiles back to his desk, walking slowly, afraid to -get there and sit down and open them. The nightmare; the first aborted -attempt. Sarah and Kent—approaching him separately—yet similarly. -Allies. Each had been confident that during the night <i>Uarnl</i>—had—</p> - -<p>There was nothing else on the front sheets but the names <i>Ih</i>, <i>Lof</i>, -<i>Dir</i>, and <i>Uarnl</i> and the story of their possessors' escape from Mars -Detain. A power breakdown had weakened the energy barrier that kept -their elusive minds, and hence their bodies, in confinement. By the -time armed replacements could be sent to the <i>Aarnians'</i> isolated cell -the beings had vanished. The guards had been strangled. Energy barriers -had been set up at all space and canal ports. Other barriers had been -formed into a hundred mile noose that was being carefully drawn in -toward Detain.</p> - -<p>Joe folded the last paper over the cruel three-eyed faces that seemed -to mock him. He fumbled at the visiphone. Miss Kal was wiping her lips -cheerfully.</p> - -<p>"Miss Kal," Joe said, "get me Mr. Reader in Shipping." He leaned his -elbows wearily on the desk and waited until Reader's puritanical face -appeared on the screen.</p> - -<p>"Yeah, boss?"</p> - -<p>"Reader, has anyone consigned four large crates to go off-world -tomorrow night?"</p> - -<p>"Yeah," Reader replied promptly; "Mr. Kent. B-type mobile spacesuits. -Had me alter the manifest this morn—"</p> - -<p>"Do you have the crates down there?"</p> - -<p>"Uh-uh. Mr. Kent said he'd skim them in sometime tomorrow. He was -coming up to get the switch O.K.'d by you. Why? Anything wrong?"</p> - -<p>Joe opened the center drawer of his desk.</p> - -<p>"No. Nothing's wrong. Listen carefully, Reader. I'm going to take care -of those crates myself. If I'm—not in my office tomorrow you are <i>not</i> -to load them on-ship! No matter what Mr. Ke—<i>anyone</i> says or does! If -the crates come in refrigerate them and call the Patrol and send the -name of the addressee to Detain immediately!"</p> - -<p>Reader came as near as he ever had to looking surprised. Nothing -wrong? His right eyebrow shot up several millimeters. Joe added, "Keep -this in your cheek and there'll be double credits for you pay-day."</p> - -<p>Reader nodded. "Yeah, boss. Don't I always?"</p> - -<p>Joe took his atom pistol out of the drawer, handling it with unfamiliar -fingers. It had been a long time since those target shooting days in -Iowa. He checked the gun quickly, reloaded it with fresh pellets.</p> - -<p>He had left the visiphone on, and when Reader had broken his -connection, the interior of Miss Kal's office and the surprised face of -that eavesdropper had automatically returned. She stared at the atom -pistol.</p> - -<p>"Miss Kal," Joe said softly. "Get me a canal-cab."</p> - -<hr class="tb" /> - -<p>The bodies were lying in a row beneath an overhanging ledge of -sandstone. They had burrowed deep into a miniature jungle of thick -leaved canal weeds, and it had taken him a long time to find them. The -gleam of four shiny new B-type spacesuits, less carefully concealed, -had finally ended the search. Kent and Ray had been busy this morning.</p> - -<p>Standing where he was, Joe could look down the green and red dotted -slope and see the ashes of the picnic fire, the scatterings of food -that the night-crawling <i>nolls</i> had found unpalatable. And, blown by -Mars' occasional winds—or taken by alien hands—to a spot only a few -feet from where it had been thrown away, was the scrap of paper with -his letterhead on it. The paper that he and Kent had marked up during -their discussion of tomorrow night's flight to <i>Aarn</i>, Callisto.</p> - -<p><i>If they didn't actually hear us talking</i>, Joe thought, <i>it was that -paper that started the whole thing.</i></p> - -<p>He said loudly: "Are you here, <i>Uarnl</i>? You thought it was perfect, -didn't you? You thought you could repossess your bodies as the liner -went off-world. Well, look at this!"</p> - -<p>With executival thoroughness, he blasted the four bodies into cinders.</p> - -<hr class="tb" /> - -<p>Sarah came out of the kitchen as Joe opened the canal door and let -himself in. He turned and paid the cabby and the skimmer moved off.</p> - -<p>"Hello, darling," she said, and tugged at his arm. "I've got a swell -supper fixed!"</p> - -<p>Joe smiled at her as he shrugged out of his tunic. He flung it casually -over her favorite potted <i>Zinhaeat</i>. She didn't grab it off. <i>I should -have been a detective</i>, he thought. He followed her into the kitchen.</p> - -<p>"Anything interesting happen today?" Sarah began to arrange the table, -moving things here and there fussily. She looked at Joe from the corner -of her eye. "That's about how you like it, isn't it?" she asked.</p> - -<p>Joe said, "That's fine." He ground out his cigarette on a clean plate. -Sarah would have taken his head off if he had ever done that.</p> - -<p>"No," he went on, "nothing happened. Same old stuff."</p> - -<p>They sat down to eat. Joe tasted his soup. It was rotten. He wondered -if they cooked like that all over Callisto, or only in <i>Aarn</i>.</p> - -<p>"Is it all right, darling?" Sarah was looking at him brightly, her -fingers twined under her chin with the left pinkie extended, her head -cocked to one side. It was all so cute that it made Joe sick. He -decided that if the showdown were put off much longer he'd never be -able to stand the sight of her again.</p> - -<p>"You haven't called me 'darling' since our days of stardust and -chivalry," he said. "Call me Joe."</p> - -<p>"What?"</p> - -<p>"I said—call—me—Joe."</p> - -<p>Sarah pushed her plate away. Her brown eyes were muddy.</p> - -<p>"I wasn't hungry anyway," she said coldly.</p> - -<p>Big Kent and Ray came through the door that led into the living room. -Kent leaned against the wall and folded his massive arms. He grinned -mockingly at Joe. "We never give up," he said. Ray stared nervously and -wet his lips.</p> - -<p>Joe shoved back his chair inch by inch.</p> - -<p>"<i>Uarnl's</i> dead," he said. "He blundered things in my office and got -scared and tried to get off-world in a passenger. The Patrol blasted -him."</p> - -<p>Sarah rose calmly and looked at Ray and Kent. Their faces were stony. -She said: "<i>Lof—Dir</i>—I think the four of us together can break down -his resistance to Occupancy." Her eyes traveled to an empty corner of -the kitchen. "Are you ready, <i>Uarnl</i>?"</p> - -<p>She faced Joe again, a sly smile on her lips.</p> - -<p>"<i>Uarnl</i> wasn't killed, Yoe—atomics don't kill us. The passenyer was."</p> - -<p>Joe wasn't surprised when she floated away from the chair and toward -him, her slippers hardly seeming to touch the floor. He'd been -expecting to be attacked.</p> - -<p>But what almost broke him into little pieces was her third eye—the -one that blinked open in the middle of her forehead, brushing aside a -brittle shell of skin and glaring at him with its wide, unhuman hunger. -Then, for one terrible second, his brain felt packed in ice; the room -was grotesque, filled with alien contrivances. The only sensible thing -in it was <i>Ih's</i> warm, familiar third eye.</p> - -<p>With all his melting strength, Joe thought, "<i>I destroyed the bodies!</i>" -and the whole scene dangled unmoving before him, the weird, distant -setting for the climax of a play, as he heard his own voice in a -wrenching groan:</p> - -<p>"Our bodies—destroyed!"</p> - -<p>Appalling misery and hatred for <i>himself</i> rocked Joe's brain. Then -<i>Uarnl</i> recoiled, as the <i>Aarnians'</i> rapport was broken.</p> - -<p>Joe cried chokingly, "Lieutenant—Lieutenant Smith!"</p> - -<p>The canal door burst open and Lieutenant Smith of Mars Detain, who -had been hugging the narrow metal landing ledge, came in like the -proverbial tornado. What he'd heard had more than convinced him. The -deadly little sphere in his hands started to make sharp spitting sounds.</p> - -<p>Sarah and Kent and Ray and the invisible <i>Uarnl</i> screamed. All -together, in a dissonance of agony and fear and death.</p> - -<hr class="chap" /> - -<div class="figcenter"> - <img src="images/illus1.jpg" alt=""/> - <div class="caption"> - <p><i>They screamed, in a dissonance of agony and fear and death....</i></p> - </div> -</div> - -<hr class="chap" /> - -<p>Then, three of them stood loosely, in puzzled silence.</p> - -<p>Big Kent brushed a hand across his eyes. "Ray," he muttered, "what in -hell were you yelling about?"</p> - -<p>Ray looked at him and sank into the nearest chair.</p> - -<p>"Yelling?" he said bewilderedly. His fingers began to unconsciously -perform on the chair arm. "I don't know. Was I yelling?"</p> - -<p>Sarah was in Joe's arms, her blue-black hair sending its aching -fragrance into his nostrils. "Joe," she whispered, "Joe, what happened?"</p> - -<p>He tipped back her head, ran a finger over her smooth, brown forehead. -Hypnosis—to paralyze and freeze him, to weaken him. He drew her face -against his shoulder again.</p> - -<p>What <i>had</i> happened? What would those Psychologists back in Iowa say -if this story ever reached their ears? <i>The barrier?—the "some sort -of block" in my mind, my freakish mind, that keeps out Projectors—and -Aarnians?</i></p> - -<p>"Kent," he said, "fix us all some drinks. Lieutenant Smith's got a -story to tell us—about that picnic."</p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK CARGO TO CALLISTO ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. -</div> - -<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br /> -<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br /> -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span> -</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase “Project -Gutenberg”), you agree to comply with all the terms of the Full -Project Gutenberg™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the person -or entity to whom you paid the fee as set forth in paragraph 1.E.8. -</div> - -<div style='display:block; margin:1em 0'> -1.B. “Project Gutenberg” is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg™ electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ work (any work -on which the phrase “Project Gutenberg” appears, or with which the -phrase “Project Gutenberg” is associated) is accessed, displayed, -performed, viewed, copied or distributed: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - This eBook is for the use of anyone anywhere in the United States and most - other parts of the world at no cost and with almost no restrictions - whatsoever. You may copy it, give it away or re-use it under the terms - of the Project Gutenberg License included with this eBook or online - at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase “Project -Gutenberg” associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg™ License. -</div> - -<div style='display:block; margin:1em 0'> -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original “Plain -Vanilla ASCII” or other form. Any alternate format must include the -full Project Gutenberg™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, “Information about donations to the Project Gutenberg - Literary Archive Foundation.” - </div> - - <div style='text-indent:-0.7em'> - • You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg™ - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg™ - works. - </div> - - <div style='text-indent:-0.7em'> - • You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg™ collection. Despite these efforts, Project Gutenberg™ -electronic works, and the medium on which they may be stored, may -contain “Defects,” such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. -</div> - -<div style='display:block; margin:1em 0'> -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right -of Replacement or Refund” described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg™ trademark, and any other party distributing a Project -Gutenberg™ electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. -</div> - -<div style='display:block; margin:1em 0'> -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. -</div> - -<div style='display:block; margin:1em 0'> -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg™ and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at www.gutenberg.org. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation’s EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state’s laws. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation’s website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular state -visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. -</div> - -<div style='display:block; margin:1em 0'> -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. -</div> - -<div style='display:block; margin:1em 0'> -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. -</div> - -</div> - -</body> -</html> diff --git a/old/64632-h/images/cover.jpg b/old/64632-h/images/cover.jpg Binary files differdeleted file mode 100644 index ce5efcd..0000000 --- a/old/64632-h/images/cover.jpg +++ /dev/null diff --git a/old/64632-h/images/illus1.jpg b/old/64632-h/images/illus1.jpg Binary files differdeleted file mode 100644 index 6610cfa..0000000 --- a/old/64632-h/images/illus1.jpg +++ /dev/null diff --git a/old/64632-h/images/illus2.jpg b/old/64632-h/images/illus2.jpg Binary files differdeleted file mode 100644 index 324455f..0000000 --- a/old/64632-h/images/illus2.jpg +++ /dev/null |
