diff options
Diffstat (limited to '26066-h')
| -rw-r--r-- | 26066-h/26066-h.htm | 1576 | ||||
| -rw-r--r-- | 26066-h/images/001.png | bin | 0 -> 13800 bytes | |||
| -rw-r--r-- | 26066-h/images/002.png | bin | 0 -> 47517 bytes |
3 files changed, 1576 insertions, 0 deletions
diff --git a/26066-h/26066-h.htm b/26066-h/26066-h.htm new file mode 100644 index 0000000..0912a6e --- /dev/null +++ b/26066-h/26066-h.htm @@ -0,0 +1,1576 @@ +<!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"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of The Cosmic Express, by Jack Williamson + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p {margin-top: .75em; text-align: justify; margin-bottom: .75em;} + .noin, .cap {text-indent: 0em;} + body > p {text-indent: 1em;} + hr {width: 45%; margin: 1em auto; visibility: hidden;} + .tb1 {width: 65%;} + .tb1, .tb2 {margin: 2em auto; visibility: visible;} + body {margin-left: 10%; margin-right: 10%;} + .center, .figright, .bk1, h1, h2, .theend {text-align: center;} + h2, .bk1 {margin-bottom: 2em;} + .smcap {font-variant: small-caps; text-transform: lowercase;} + .figr, .figright {float: right; clear: right; padding: 0;} + .figr {margin: 0 0 -1em 1em; width: 199px;} + .figright {margin: 1em 0 1em 1em; width: 394px;} + .trn {border: solid 1px; margin: 1em 15% 3em; padding: 1em; text-align: justify;} + img {border: none; display: block;} + p.cap:first-letter {float: left; margin-right: .05em; padding-top: .05em; font-size: 300%; line-height: .8em;} + .dcap {text-transform: uppercase;} + .theend {margin-top: 2em;} + .bk1 {line-height: 1.5em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Cosmic Express, by John Stewart Williamson + +This eBook is for the use of anyone anywhere 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 www.gutenberg.org + + +Title: The Cosmic Express + +Author: John Stewart Williamson + +Release Date: July 15, 2008 [EBook #26066] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE COSMIC EXPRESS *** + + + + +Produced by Greg Weeks, Stephen Blundell and the Online +Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + +<div class="trn"><b>Transcriber's Note:</b> +This etext was produced from <i>Amazing Stories</i> December 1961 and +was first published in <i>Amazing Stories</i> November 1930. Extensive +research did not uncover any evidence that the U.S. copyright on +this publication was renewed. Minor spelling and +typographical errors have been corrected without note.</div> + +<div class="bk1"><b>A Classic Reprint from AMAZING STORIES, November, 1930</b><br /> +<small><i>Copyright 1931, by Experimenter Publications Inc.</i></small></div> + +<h1><big><i>The Cosmic Express</i></big></h1> + +<h2>By JACK WILLIAMSON</h2> + +<h2>Introduction by Sam Moskowitz</h2> + +<p class="cap"><i><span class="dcap">The</span> year 1928 was a great +year of discovery for</i> <span class="smcap">AMAZING +STORIES</span>. <i>They were uncovering +new talent at such a great rate, +(Harl Vincent, David H. Keller, +E. E. Smith, Philip Francis Nowlan, +Fletcher Pratt and Miles J. +Breuer), that Jack Williamson +barely managed to become one of +a distinguished group of discoveries +by stealing the cover of the +December issue for his first story</i> +The Metal Man.</p> + +<p><i>A disciple of A. Merritt, he attempted +to imitate in style, mood +and subject the magic of that +late lamented master of fantasy. +The imitation found great favor +from the readership and almost +instantly Jack Williamson became +an important name on the +contents page of</i> <span class="smcap">AMAZING STORIES</span>. +<i>He followed his initial success +with two short novels</i>, The +Green Girl <i>in</i> <span class="smcap">AMAZING STORIES</span> +<i>and</i> The Alien Intelligence <i>in</i> +<span class="smcap">SCIENCE WONDER STORIES</span>, <i>another +Gernsback publication. Both of +these stories were close copies of +A. Merritt, whose style and method +Jack Williamson parlayed into +popularity for eight years.</i></p> + +<p><i>Yet the strange thing about it +was that Jack Williamson was +one of the most versatile science +fiction authors ever to sit down +at the typewriter. When the +vogue for science-fantasy altered +to super science, he created the +memorable super lock-picker +Giles Habilula as the major attraction +in a rousing trio of space +operas</i>, The Legion of Space, The +Cometeers <i>and</i> One Against the +Legion. <i>When grim realism was +the order of the day, he produced</i> +Crucible of Power <i>and when they +wanted extrapolated theory in +present tense, he assumed the +disguise of Will Stewart and +popularized the concept of contra +terrene matter in science fiction +with</i> Seetee Ship <i>and</i> Seetee +Shock. <i>Finally, when only psychological +studies of the future +would do, he produced</i> "With +Folded Hands ..." "... And +Searching Mind."</p> + +<p>The Cosmic Express <i>is of special +interest because it was written +during Williamson's A. Merritt +"kick," when he was writing +little else but, and it gave the +earliest indication of a more general +capability. The lightness of +the handling is especially modern, +barely avoiding the farcical +by the validity of the notion that +wireless transmission of matter +is the next big transportation +frontier to be conquered. It is +especially important because it +stylistically forecast a later trend +to accept the background for +granted, regardless of the quantity +of wonders, and proceed with +the story. With only a few thousand +scanning-disk television sets +in existence at the time of the +writing, the surmise that this +media would be a natural for +westerns was particularly astute.</i></p> + +<p><i>Jack Williamson was born in +1908 in the Arizona territory +when covered wagons were the +primary form of transportation +and apaches still raided the settlers. +His father was a cattle +man, but for young Jack, the +ranch was anything but glamorous. +"My days were filled," he remembers, +"with monotonous +rounds of what seemed an endless, +heart-breaking war with +drought and frost and dust-storms, +poison-weeds and hail, +for the sake of survival on the</i> +Llano Estacado." <i>The discovery +of</i> <span class="smcap">AMAZING STORIES</span> <i>was the escape +he sought and his goal was +to be a science fiction writer. He +labored to this end and the first +he knew that a story of his had +been accepted was when he +bought the December, 1929 issue +of</i> <span class="smcap">AMAZING STORIES</span>. <i>Since then, +he has written millions of words +of science fiction and has gone on +record as follows: "I feel that +science-fiction is the folklore of +the new world of science, and +the expression of man's reaction +to a technological environment. +By which I mean that it is the +most interesting and stimulating +form of literature today."</i></p> + +<hr class="tb1" /> +<p class="cap"><span class="dcap">Mr. Eric Stokes-Harding</span> +tumbled out of the +rumpled bed-clothing, a striking +slender figure in purple-striped +pajamas. He smiled fondly across +to the other of the twin beds, +where Nada, his pretty bride, +lay quiet beneath light silk covers. +With a groan, he stood up +and began a series of fantastic +bending exercises. But after a +few half-hearted movements, he +gave it up, and walked through +an open door into a small bright +room, its walls covered with bookcases +and also with scientific appliances +that would have been +strange to the man of four or +five centuries before, when the +Age of Aviation was beginning.</p> + +<div class="figr"> +<img src="images/001.png" width="199" height="177" alt="" title="" /> +</div> + +<div class="figright"> +<img src="images/002.png" width="394" height="306" alt="" title="" /> +<b><small>Suddenly there was a sharp tingling +sensation where they touched +the polished surface.</small></b></div> + +<p>Yawning, Mr. Eric Stokes-Harding +stood before the great +open window, staring out. Below +him was a wide, park-like space, +green with emerald lawns, and +bright with flowering plants. +Two hundred yards across it rose +an immense pyramidal building—an +artistic structure, gleaming +with white marble and bright +metal, striped with the verdure +of terraced roof-gardens, +its slender peak rising to +help support the gray, steel-ribbed +glass roof above. Beyond, +the park stretched away in +illimitable vistas, broken with +the graceful columned buildings +that held up the great glass roof.</p> + +<p>Above the glass, over this New +York of 2432 A. D., a freezing +blizzard was sweeping. But small +concern was that to the lightly +clad man at the window, who was +inhaling deeply the fragrant air +from the plants below—air kept, +winter and summer, exactly at +20° C.</p> + +<p>With another yawn, Mr. Eric +Stokes-Harding turned back to +the room, which was bright with +the rich golden light that poured +in from the suspended globes of +the cold ato-light that illuminated +the snow-covered city. +With a distasteful grimace, he +seated himself before a broad, +paper-littered desk, sat a few +minutes leaning back, with his +hands clasped behind his head. +At last he straightened reluctantly, +slid a small typewriter +out of its drawer, and began +pecking at it impatiently.</p> + +<p>For Mr. Eric Stokes-Harding +was an author. There was a whole +shelf of his books on the wall, in +bright jackets, red and blue and +green, that brought a thrill of +pleasure to the young novelist's +heart when he looked up from his +clattering machine.</p> + +<p>He wrote "thrilling action romances," +as his enthusiastic publishers +and television directors +said, "of ages past, when men +were men. Red-blooded heroes responding +vigorously to the stirring +passions of primordial life!"</p> + +<hr /> + +<p class="cap"><span class="dcap">He</span> was impartial as to the +source of his thrills—provided +they were distant enough +from modern civilization. His +hero was likely to be an ape-man +roaring through the jungle, with +a bloody rock in one hand and +a beautiful girl in the other. +Or a cowboy, "hard-riding, hard-shooting," +the vanishing hero of +the ancient ranches. Or a man +marooned with a lovely woman +on a desert South Sea island. +His heroes were invariably +strong, fearless, resourceful fellows, +who could handle a club on +equal terms with a cave-man, or +call science to aid them in defending +a beautiful mate from +the terrors of a desolate wilderness.</p> + +<p>And a hundred million read +Eric's novels, and watched the +dramatization of them on the +television screens. They thrilled +at the simple, romantic lives his +heroes led, paid him handsome +royalties, and subconsciously +shared his opinion that civilization +had taken all the best from +the life of man.</p> + +<p>Eric had settled down to the +artistic satisfaction of describing +the sensuous delight of his +hero in the roasted marrow-bones +of a dead mammoth, when +the pretty woman in the other +room stirred, and presently came +tripping into the study, gay and +vivacious, and—as her husband +of a few months most justly +thought—altogether beautiful in +a bright silk dressing gown.</p> + +<p>Recklessly, he slammed the +machine back into its place, and +resolved to forget that his next +"red-blooded action thriller" was +due in the publisher's office at the +end of the month. He sprang up +to kiss his wife, held her embraced +for a long happy moment. +And then they went hand in +hand, to the side of the room and +punched a series of buttons on a +panel—a simple way of ordering +breakfast sent up the automatic +shaft from the kitchens below.</p> + +<p>Nada Stokes-Harding was also +an author. She wrote poems—"back +to nature stuff"—simple +lyrics of the sea, of sunsets, of +bird songs, of bright flowers and +warm winds, of thrilling communion +with Nature, and growing +things. Men read her poems +and called her a genius. Even +though the whole world had +grown up into a city, the birds +were extinct, there were no wild +flowers, and no one had time to +bother about sunsets.</p> + +<p>"Eric, darling," she said, "isn't +it terrible to be cooped up here +in this little flat, away from the +things we both love?"</p> + +<p>"Yes, dear. Civilization has +ruined the world. If we could only +have lived a thousand years ago, +when life was simple and natural, +when men hunted and killed their +meat, instead of drinking synthetic +stuff, when men still had +the joys of conflict, instead of +living under glass, like hot-house +flowers."</p> + +<p>"If we could only go somewhere—"</p> + +<p>"There isn't anywhere to go. I +write about the West, Africa, +South Sea Islands. But they +were all filled up two hundred +years ago. Pleasure resorts, sanatoriums, +cities, factories."</p> + +<p>"If only we lived on Venus! +I was listening to a lecture on +the television, last night. The +speaker said that the Planet +Venus is younger than the Earth, +that it has not cooled so much. It +has a thick, cloudy atmosphere, +and low, rainy forests. There's +simple, elemental life there—like +Earth had before civilization +ruined it."</p> + +<p>"Yes, Kinsley, with his new infra-red +ray telescope, that penetrates +the cloud layers of the +planet, proved that Venus rotates +in about the same period as +Earth; and it must be much like +Earth was a million years ago."</p> + +<p>"Eric, I wonder if we could go +there! It would be so thrilling to +begin life like the characters in +your stories, to get away from +this hateful civilization, and live +natural lives. Maybe a rocket—"</p> + +<hr /> + +<p class="cap"><span class="dcap">The</span> young author's eyes were +glowing. He skipped across the +floor, seized Nada, kissed her +ecstatically. "Splendid! Think of +hunting in the virgin forest, and +bringing the game home to you! +But I'm afraid there is no way.—Wait! +The Cosmic Express."</p> + +<p>"The Cosmic Express?"</p> + +<p>"A new invention. Just perfected +a few weeks ago, I understand. +By Ludwig Von der Valls, +the German physicist."</p> + +<p>"I've quit bothering about science. +It has ruined nature, filled +the world with silly, artificial +people, doing silly, artificial +things."</p> + +<p>"But this is quite remarkable, +dear. A new way to travel—by +ether!"</p> + +<p>"By ether!"</p> + +<p>"Yes. You know of course that +energy and matter are interchangeable +terms; both are simply +etheric vibration, of different +sorts."</p> + +<p>"Of course. That's elementary." +She smiled proudly. "I can +give you examples, even of the +change. The disintegration of the +radium atom, making helium +and lead and <i>energy</i>. And Millikan's +old proof that his Cosmic +Ray is generated when particles +of electricity are united to form +an atom."</p> + +<p>"Fine! I thought you said you +weren't a scientist." He glowed +with pride. "But the method, in +the new Cosmic Express, is simply +to convert the matter to be +carried into power, send it out +as a radiant beam and focus the +beam to convert it back into +atoms at the destination."</p> + +<p>"But the amount of energy +must be terrific—"</p> + +<p>"It is. You know short waves +carry more energy than long +ones. The Express Ray is an +electromagnetic vibration of frequency +far higher than that of +even the Cosmic Ray, and correspondingly +more powerful and +more penetrating."</p> + +<p>The girl frowned, running slim +fingers through golden-brown +hair. "But I don't see how they +get any recognizable object, not +even how they get the radiation +turned back into matter."</p> + +<p>"The beam is focused, just like +the light that passes through a +camera lens. The photographic +lens, using light rays, picks up a +picture and reproduces it again +on the plate—just the same as +the Express Ray picks up an +object and sets it down on the +other side of the world.</p> + +<p>"An analogy from television +might help. You know that by +means of the scanning disc, the +picture is transformed into mere +rapid fluctuations in the brightness +of a beam of light. In a +parallel manner, the focal plane +of the Express Ray moves slowly +through the object, progressively, +dissolving layers of the +thickness of a single atom, which +are accurately reproduced at the +other focus of the instrument—which +might be in Venus!</p> + +<p>"But the analogy of the lens +is the better of the two. For no +receiving instrument is required, +as in television. The object is +built up of an infinite series of +plane layers, at the focus of the +ray, no matter where that may +be. Such a thing would be impossible +with radio apparatus +because even with the best beam +transmission, all but a tiny fraction +of the power is lost, and +power is required to rebuild the +atoms. Do you understand, +dear?"</p> + +<p>"Not altogether. But I should +worry! Here comes breakfast. +Let me butter your toast."</p> + +<p>A bell had rung at the shaft. +She ran to it, and returned with +a great silver tray, laden with +dainty dishes, which she set on a +little side table. They sat down +opposite each other, and ate, getting +as much satisfaction from +contemplation of each other's +faces as from the excellent food. +When they had finished, she carried +the tray to the shaft, slid +it in a slot, and touched a button—thus +disposing of the culinary +cares of the morning.</p> + +<p>She ran back to Eric, who was +once more staring distastefully +at his typewriter.</p> + +<p>"Oh, darling! I'm thrilled to +death about the Cosmic Express! +If we could go to Venus, to a new +life on a new world, and get +away from all this hateful conventional +society—"</p> + +<p>"We can go to their office—it's +only five minutes. The chap +that operates the machine for +the company is a pal of mine. +He's not supposed to take passengers +except between the offices +they have scattered about the +world. But I know his weak +point—"</p> + +<p>Eric laughed, fumbled with a +hidden spring under his desk. A +small polished object, gleaming +silvery, slid down into his hand.</p> + +<p>"Old friendship, <i>plus</i> this, +would make him—like spinach."</p> + +<hr /> + +<p class="cap"><span class="dcap">Five</span> minutes later Mr. Eric +Stokes-Harding and his pretty +wife were in street clothes, +light silk tunics of loose, flowing +lines—little clothing being required +in the artificially warmed +city. They entered an elevator +and dropped thirty stories to the +ground floor of the great building.</p> + +<p>There they entered a cylindrical +car, with rows of seats down +the sides. Not greatly different +from an ancient subway car, except +that it was air-tight, and +was hurled by magnetic attraction +and repulsion through a +tube exhausted of air, at a speed +that would have made an old +subway rider gasp with amazement.</p> + +<p>In five more minutes their car +had whipped up to the base of +another building, in the business +section, where there was no room +for parks between the mighty +structures that held the unbroken +glass roofs two hundred stories +above the concrete pavement.</p> + +<p>An elevator brought them up a +hundred and fifty stories. Eric +led Nada down a long, carpeted +corridor to a wide glass door, +which bore the words:</p> + +<div class="center"><b>COSMIC EXPRESS</b></div> + +<p class="noin">stenciled in gold capitals across +it.</p> + +<p>As they approached, a lean +man, carrying a black bag, darted +out of an elevator shaft opposite +the door, ran across the corridor, +and entered. They pushed in after +him.</p> + +<p>They were in a little room, +cut in two by a high brass grill. +In front of it was a long bench +against the wall, that reminded +one of the waiting room in an old +railroad depot. In the grill was a +little window, with a lazy, brown-eyed +youth leaning on the shelf +behind it. Beyond him was a +great, glittering piece of mechanism, +half hidden by the brass. +A little door gave access to the +machine from the space before +the grill.</p> + +<p>The thin man in black, whom +Eric now recognized as a prominent +French heart-specialist, was +dancing before the window, waving +his bag frantically, raving at +the sleepy boy.</p> + +<p>"Queek! I have tell you zee +truth! I have zee most urgent +necessity to go queekly. A patient +I have in Paree, zat ees in +zee most creetical condition!"</p> + +<p>"Hold your horses just a minute, +Mister. We got a client in +the machine now. Russian diplomat +from Moscow to Rio de +Janeiro.... Two hundred seventy +dollars and eighty cents, +please.... Your turn next. Remember +this is just an experimental +service. Regular installations +all over the world in a year.... +Ready now. Come on in."</p> + +<p>The youth took the money, +pressed a button. The door +sprang open in the grill, and the +frantic physician leaped through +it.</p> + +<p>"Lie down on the crystal, face +up," the young man ordered. +"Hands at your sides, don't +breathe. Ready!"</p> + +<p>He manipulated his dials and +switches, and pressed another +button.</p> + +<p>"Why, hello, Eric, old man!" +he cried. "That's the lady you +were telling me about? Congratulations!" +A bell jangled before +him on the panel. "Just a minute. +I've got a call."</p> + +<p>He punched the board again. +Little bulbs lit and glowed for a +second. The youth turned toward +the half-hidden machine, spoke +courteously.</p> + +<p>"All right, madam. Walk out. +Hope you found the transit pleasant."</p> + +<p>"But my Violet! My precious +Violet!" a shrill female voice +came from the machine. "Sir, +what have you done with my +darling Violet?"</p> + +<p>"I'm sure I don't know, madam. +You lost it off your hat?"</p> + +<p>"None of your impertinence, +sir! I want my dog."</p> + +<p>"Ah, a dog. Must have jumped +off the crystal. You can have +him sent on for three hundred +and—"</p> + +<p>"Young man, if any harm +comes to my Violet—I'll—I'll—I'll +appeal to the Society for the +Prevention of Cruelty to Animals!"</p> + +<p>"Very good, madam. We appreciate +your patronage."</p> + +<hr /> + +<p class="cap"><span class="dcap">The</span> door flew open again. +A very fat woman, puffing +angrily, face highly colored, +clothing shimmering with artificial +gems, waddled pompously +out of the door through which +the frantic French doctor had +so recently vanished. She rolled +heavily across the room, and out +into the corridor. Shrill words +floated back:</p> + +<p>"I'm going to see my lawyer! +My precious Violet—"</p> + +<p>The sallow youth winked. +"And now what can I do for you, +Eric?"</p> + +<p>"We want to go to Venus, if +that ray of yours can put us +there."</p> + +<p>"To Venus? Impossible. My +orders are to use the Express +merely between the sixteen designated +stations, at New York, +San Francisco, Tokyo, London, +Paris—"</p> + +<p>"See here, Charley," with a +cautious glance toward the door, +Eric held up the silver flask. +"For old time's sake, and for +this—"</p> + +<p>The boy seemed dazed at sight +of the bright flask. Then, with a +single swift motion, he snatched +it out of Eric's hand, and bent +to conceal it below his instrument +panel.</p> + +<p>"Sure, old boy. I'd send you to +heaven for that, if you'd give me +the micrometer readings to set +the ray with. But I tell you, this +is dangerous. I've got a sort of +television attachment, for focusing +the ray. I can turn that on +Venus—I've been amusing myself, +watching the life there, already. +Terrible place. Savage. I +can pick a place on high land to +set you down. But I can't be responsible +for what happens afterward."</p> + +<p>"Simple, primitive life is what +we're looking for. And now what +do I owe you—"</p> + +<p>"Oh, that's all right. Between +friends. Provided that stuff's +genuine! Walk in and lie down on +the crystal block. Hands at your +sides. Don't move."</p> + +<p>The little door had swung +open again, and Eric led Nada +through. They stepped into a little +cell, completely surrounded +with mirrors and vast prisms +and lenses and electron tubes. In +the center was a slab of transparent +crystal, eight feet square +and two inches thick, with an +intricate mass of machinery below +it.</p> + +<p>Eric helped Nada to a place +on the crystal, lay down at her +side.</p> + +<p>"I think the Express Ray is +focused just at the surface of the +crystal, from below," he said. "It +dissolves our substance, to be +transmitted by the beam. It +would look as if we were melting +into the crystal."</p> + +<p>"Ready," called the youth. +"Think I've got it for you. Sort +of a high island in the jungle. +Nothing bad in sight now. But, +I say—how're you coming back? +I haven't got time to watch you."</p> + +<p>"Go ahead. We aren't coming +back."</p> + +<p>"Gee! What is it? Elopement? +I thought you were married already. +Or is it business difficulties? +The Bears did make an awful +raid last night. But you better +let me set you down in Hong +Kong."</p> + +<p>A bell jangled. "So long," the +youth called.</p> + +<p>Nada and Eric felt themselves +enveloped in fire. Sheets of white +flame seemed to lap up about +them from the crystal block. Suddenly +there was a sharp tingling +sensation where they touched +the polished surface. Then blackness, +blankness.</p> + +<hr /> + +<p class="cap"><span class="dcap">The</span> next thing they knew, the +fires were gone from about +them. They were lying in something +extremely soft and fluid; +and warm rain was beating in +their faces. Eric sat up, found +himself in a mud-puddle. Beside +him was Nada, opening her eyes +and struggling up, her bright +garments stained with black +mud.</p> + +<p>All about rose a thick jungle, +dark and gloomy—and very wet. +Palm-like, the gigantic trees +were, or fern-like, flinging clouds +of feathery green foliage high +against a somber sky of unbroken +gloom.</p> + +<p>They stood up, triumphant.</p> + +<p>"At last!" Nada cried. "We're +free! Free of that hateful old +civilization! We're back to Nature!"</p> + +<p>"Yes, we're on our feet now, +not parasites on the machines."</p> + +<p>"It's wonderful to have a fine, +strong man like you to trust in, +Eric. You're just like one of the +heroes in your books!"</p> + +<p>"You're the perfect companion, +Nada.... But now we +must be practical. We must +build a fire, find weapons, set up +a shelter of some kind. I guess it +will be night, pretty soon. And +Charley said something about +savage animals he had seen in +the television.</p> + +<p>"We'll find a nice dry cave, +and have a fire in front of the +door. And skins of animals to +sleep on. And pottery vessels to +cook in. And you will find seeds +and grown grain."</p> + +<p>"But first we must find a flint-bed. +We need flint for tools, and +to strike sparks to make a fire +with. We will probably come +across a chunk of virgin copper, +too—it's found native."</p> + +<p>Presently they set off through +the jungle. The mud seemed to +be very abundant, and of a most +sticky consistence. They sank +into it ankle deep at every step, +and vast masses of it clung to +their feet. A mile they struggled +on, without finding where a provident +nature had left them even +a single fragment of quartz, to +say nothing of a mass of pure +copper.</p> + +<p>"A darned shame," Eric grumbled, +"to come forty million +miles, and meet such a reception +as this!"</p> + +<p>Nada stopped. "Eric," she +said, "I'm tired. And I don't believe +there's any rock here, anyway. +You'll have to use wooden +tools, sharpened in the fire."</p> + +<p>"Probably you're right. This +soil seemed to be of alluvial origin. +Shouldn't be surprised if +the native rock is some hundreds +of feet underground. Your +idea is better."</p> + +<p>"You can make a fire by rubbing +sticks together, can't you?"</p> + +<p>"It can be done, I'm sure. I've +never tried it, myself. We need +some dry sticks, first."</p> + +<p>They resumed the weary +march, with a good fraction of +the new planet adhering to their +feet. Rain was still falling from +the dark heavens in a steady, +warm downpour. Dry wood +seemed scarce as the proverbial +hen's teeth.</p> + +<p>"You didn't bring any matches, +dear?"</p> + +<p>"Matches! Of course not! +We're going back to Nature."</p> + +<p>"I hope we get a fire pretty +soon."</p> + +<p>"If dry wood were gold dust, +we couldn't buy a hot dog."</p> + +<p>"Eric, that reminds me that +I'm hungry."</p> + +<p>He confessed to a few pangs of +his own. They turned their attention +to looking for banana +trees, and coconut palms, but +they did not seem to abound in +the Venerian jungle. Even small +animals that might have been +slain with a broken branch had +contrary ideas about the matter.</p> + +<p>At last, from sheer weariness, +they stopped, and gathered +branches to make a sloping shelter +by a vast fallen tree-trunk.</p> + +<p>"This will keep out the rain—maybe—" +Eric said hopefully. +"And tomorrow, when it has quit +raining—I'm sure we'll do better."</p> + +<p>They crept in, as gloomy night +fell without. They lay in each +other's arms, the body warmth +oddly comforting. Nada cried a +little.</p> + +<p>"Buck up," Eric advised her. +"We're back to nature—where +we've always wanted to be."</p> + +<hr /> + +<p class="cap"><span class="dcap">With</span> the darkness, the temperature +fell somewhat, and +a high wind rose, whipping cold +rain into the little shelter, and +threatening to demolish it. +Swarms of mosquito-like insects, +seemingly not inconvenienced in +the least by the inclement elements, +swarmed about them in +clouds.</p> + +<p>Then came a sound from the +dismal stormy night, a hoarse, +bellowing roar, raucous, terrifying.</p> + +<p>Nada clung against Eric. +"What is it, dear?" she chattered.</p> + +<p>"Must be a reptile. Dinosaur, +or something of the sort. This +world seems to be in about the +same state as the Earth when +they flourished there.... But +maybe it won't find us."</p> + +<p>The roar was repeated, nearer. +The earth trembled beneath a +mighty tread.</p> + +<p>"Eric," a thin voice trembled. +"Don't you think—it might have +been better— You know the old +life was not so bad, after all."</p> + +<p>"I was just thinking of our +rooms, nice and warm and +bright, with hot foods coming up +the shaft whenever we pushed +the button, and the gay crowds +in the park, and my old typewriter."</p> + +<p>"Eric?" she called softly.</p> + +<p>"Yes, dear."</p> + +<p>"Don't you wish—we had +known better?"</p> + +<p>"I do." If he winced at the +"we" the girl did not notice.</p> + +<p>The roaring outside was closer. +And suddenly it was answered +by another raucous bellow, at +considerable distance, that echoed +strangely through the forest. +The fearful sounds were repeated, +alternately. And always +the more distant seemed nearer, +until the two sounds were together.</p> + +<p>And then an infernal din +broke out in the darkness. Bellows. +Screams. Deafening +shrieks. Mighty splashes, as if +struggling Titans had upset +oceans. Thunderous crashes, as +if they were demolishing forests.</p> + +<p>Eric and Nada clung to each +other, in doubt whether to stay +or to fly through the storm. +Gradually the sound of the conflict +came nearer, until the earth +shook beneath them, and they +were afraid to move.</p> + +<p>Suddenly the great fallen tree +against which they had erected +the flimsy shelter was rolled +back, evidently by a chance blow +from the invisible monsters. The +pitiful roof collapsed on the bedraggled +humans. Nada burst +into tears.</p> + +<p>"Oh, if only—if only—"</p> + +<hr /> + +<p class="cap"><span class="dcap">Suddenly</span> flame lapped up +about them, the same white +fire they had seen as they lay on +the crystal block. Dizziness, insensibility +overcame them. A few +moments later, they were lying +on the transparent table in the +Cosmic Express office, with all +those great mirrors and prisms +and lenses about them.</p> + +<p>A bustling, red-faced official +appeared through the door in the +grill, fairly bubbling apologies.</p> + +<p>"So sorry—an accident—inconceivable. +I can't see how he +got it! We got you back as soon +as we could find a focus. I sincerely +hope you haven't been injured."</p> + +<p>"Why—what—what—"</p> + +<p>"Why I happened in, found +our operator drunk. I've no idea +where he got the stuff. He muttered +something about Venus. I +consulted the auto-register, and +found two more passengers registered +here than had been recorded +at our other stations. I +looked up the duplicate beam coordinates, +and found that it had +been set on Venus. I got men on +the television at once, and we +happened to find you.</p> + +<p>"I can't imagine how it happened. +I've had the fellow locked +up, and the 'dry-laws' are on the +job. I hope you won't hold us for +excessive damages."</p> + +<p>"No, I ask nothing except that +you don't press charges against +the boy. I don't want him to suffer +for it in any way. My wife and +I will be perfectly satisfied to get +back to our apartment."</p> + +<p>"I don't wonder. You look like +you've been through—I don't +know what. But I'll have you +there in five minutes. My private car—"</p> + +<hr class="tb2" /> + +<p>Mr. Eric Stokes-Harding, noted +author of primitive life and love, +ate a hearty meal with his pretty +spouse, after they had washed +off the grime of another planet. +He spent the next twelve hours +in bed.</p> + +<p>At the end of the month he +delivered his promised story to +his publishers, a thrilling tale of +a man marooned on Venus, with +a beautiful girl. The hero made +stone tools, erected a dwelling +for himself and his mate, hunted +food for her, defended her from +the mammoth saurian monsters +of the Venerian jungles.</p> + +<p>The book was a huge success.</p> + +<div class="theend"><b>THE END</b></div> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Cosmic Express, by John Stewart Williamson + +*** END OF THIS PROJECT GUTENBERG EBOOK THE COSMIC EXPRESS *** + +***** This file should be named 26066-h.htm or 26066-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/6/0/6/26066/ + +Produced by Greg Weeks, Stephen Blundell and the Online +Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions 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-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm 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-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +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-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm 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. + +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-tm 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-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain 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-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm 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-tm License when you share it without charge with others. + +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-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm 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: + +This eBook is for the use of anyone anywhere 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 www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm 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-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +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-tm License. + +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-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (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-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm 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." + +- 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-tm + 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-tm works. + +- 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. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm 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. + +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-tm trademark, and any other party distributing a Project +Gutenberg-tm 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 F3. 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. + +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. + +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 MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +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. + +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-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm 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-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm 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. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +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. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. 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. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread 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. + +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 https://pglaf.org + +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. + +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. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +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. + + +</pre> + +</body> +</html> diff --git a/26066-h/images/001.png b/26066-h/images/001.png Binary files differnew file mode 100644 index 0000000..879b5b9 --- /dev/null +++ b/26066-h/images/001.png diff --git a/26066-h/images/002.png b/26066-h/images/002.png Binary files differnew file mode 100644 index 0000000..cba99ed --- /dev/null +++ b/26066-h/images/002.png |
