diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:33:43 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:33:43 -0700 |
| commit | c15467d4e2d3ef146a56ae7fee355c435106f52e (patch) | |
| tree | b03cfa231c4c7de21fb4ce53d97182e7467b916a /27053.txt | |
Diffstat (limited to '27053.txt')
| -rw-r--r-- | 27053.txt | 1220 |
1 files changed, 1220 insertions, 0 deletions
diff --git a/27053.txt b/27053.txt new file mode 100644 index 0000000..8b2e267 --- /dev/null +++ b/27053.txt @@ -0,0 +1,1220 @@ +Project Gutenberg's The Day Time Stopped Moving, by Bradner Buckner + +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 Day Time Stopped Moving + +Author: Bradner Buckner + +Illustrator: Thomas Beecham + +Release Date: October 26, 2008 [EBook #27053] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE DAY TIME STOPPED MOVING *** + + + + +Produced by Greg Weeks, Stephen Blundell and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + + THE DAY + TIME + STOPPED + MOVING + + By BRADNER BUCKNER + + + _All Dave Miller wanted to do was commit suicide in peace. He tried, + but the things that happened after he'd pulled the trigger were all + wrong. Like everyone standing around like statues. No St. Peter, no + pearly gate, no pitchforks or halos. He might just as well have + saved the bullet!_ + + +Dave Miller would never have done it, had he been in his right mind. The +Millers were not a melancholy stock, hardly the sort of people you +expect to read about in the morning paper who have taken their lives the +night before. But Dave Miller was drunk--abominably, roaringly so--and +the barrel of the big revolver, as he stood against the sink, made a +ring of coldness against his right temple. + +Dawn was beginning to stain the frosty kitchen windows. In the faint +light, the letter lay a gray square against the drain-board tiles. With +the melodramatic gesture of the very drunk, Miller had scrawled across +the envelope: + +"This is why I did it!" + +[Illustration: Dave Miller pushed with all his strength, but the girl +was as unmovable as Gibraltar.] + +He had found Helen's letter in the envelope when he staggered into their +bedroom fifteen minutes ago--at a quarter after five. As had frequently +happened during the past year, he'd come home from the store a little +late ... about twelve hours late, in fact. And this time Helen had done +what she had long threatened to do. She had left him. + +The letter was brief, containing a world of heartbreak and broken hopes. + +"I don't mind having to scrimp, Dave. No woman minds that if she feels +she is really helping her husband over a rough spot. When business went +bad a year ago, I told you I was ready to help in any way I could. But +you haven't let me. You quit fighting when things got difficult, and put +in all your money and energy on liquor and horses and cards. I could +stand being married to a drunkard, Dave, but not to a coward ..." + +So she was trying to show him. But Miller told himself he'd show her +instead. Coward, eh? Maybe this would teach her a lesson! Hell of a lot +of help she'd been! Nag at him every time he took a drink. Holler bloody +murder when he put twenty-five bucks on a horse, with a chance to make +five hundred. What man wouldn't do those things? + +His drug store was on the skids. Could he be blamed for drinking a +little too much, if alcohol dissolved the morbid vapors of his mind? + +Miller stiffened angrily, and tightened his finger on the trigger. But +he had one moment of frank insight just before the hammer dropped and +brought the world tumbling about his ears. It brought with it a +realization that the whole thing was his fault. Helen was right--he was +a coward. There was a poignant ache in his heart. She'd been as loyal as +they came, he knew that. + +He could have spent his nights thinking up new business tricks, instead +of swilling whiskey. Could have gone out of his way to be pleasant to +customers, not snap at them when he had a terrific hangover. And even +Miller knew nobody ever made any money on the horses--at least, not when +he needed it. But horses and whiskey and business had become tragically +confused in his mind; so here he was, full of liquor and madness, with a +gun to his head. + +Then again anger swept his mind clean of reason, and he threw his chin +up and gripped the gun tight. + +"Run out on me, will she!" he muttered thickly. "Well--this'll show +her!" + +In the next moment the hammer fell ... and Dave Miller had "shown her." + +Miller opened his eyes with a start. As plain as black on white, he'd +heard a bell ring--the most familiar sound in the world, too. It was the +unmistakable tinkle of his cash register. + +"Now, how in hell--" The thought began in his mind; and then he saw +where he was. + +The cash register was right in front of him! It was open, and on the +marble slab lay a customer's five-spot. Miller's glance strayed up and +around him. + +He was behind the drug counter, all right. There were a man and a girl +sipping cokes at the fountain, to his right; the magazine racks by the +open door; the tobacco counter across from the fountain. And right +before him was a customer. + +Good Lord! he thought. Was all this a--a dream? + +Sweat oozed out on his clammy forehead. That stuff of Herman's that he +had drunk during the game--it had had a rank taste, but he wouldn't have +thought anything short of marihuana could produce such hallucinations as +he had just had. Wild conjectures came boiling up from the bottom of +Miller's being. + +How did he get behind the counter? Who was the woman he was waiting on? +What-- + +The woman's curious stare was what jarred him completely into the +present. Get rid of her! was his one thought. Then sit down behind the +scenes and try to figure it all out. + +His hand poised over the cash drawer. Then he remembered he didn't know +how much he was to take out of the five. Avoiding the woman's glance, he +muttered: + +"Let's see, now, that was--uh--how much did I say?" + +The woman made no answer. Miller cleared his throat, said uncertainly: + +"I beg your pardon, ma'am--did I say--seventy-five cents?" + +It was just a feeler, but the woman didn't even answer to that. And it +was right then that Dave Miller noticed the deep silence that brooded in +the store. + +Slowly his head came up and he looked straight into the woman's eyes. +She returned him a cool, half-smiling glance. But her eyes neither +blinked nor moved. Her features were frozen. Lips parted, teeth showing +a little, the tip of her tongue was between her even white teeth as +though she had started to say "this" and stopped with the syllable +unspoken. + +Muscles began to rise behind Miller's ears. He could feel his hair +stiffen like filings drawn to a magnet. His glance struggled to the soda +fountain. What he saw there shook him to the core of his being. + +The girl who was drinking a coke had the glass to her lips, but +apparently she wasn't sipping the liquid. Her boy friend's glass was on +the counter. He had drawn on a cigarette and exhaled the gray smoke. +That smoke hung in the air like a large, elongated balloon with the +small end disappearing between his lips. While Miller stared, the smoke +did not stir in the slightest. + +There was something unholy, something supernatural, about this scene! + +With apprehension rippling down his spine, Dave Miller reached across +the cash register and touched the woman on the cheek. The flesh was +warm, but as hard as flint. Tentatively, the young druggist pushed +harder; finally, shoved with all his might. For all the result, the +woman might have been a two-ton bronze statue. She neither budged nor +changed expression. + +Panic seized Miller. His voice hit a high hysterical tenor as he called +to his soda-jerker. + +"Pete! _Pete!_" he shouted. "What in God's name is wrong here!" + +The blond youngster, with a towel wadded in a glass, did not stir. +Miller rushed from the back of the store, seized the boy by the +shoulders, tried to shake him. But Pete was rooted to the spot. + +Miller knew, now, that what was wrong was something greater than a +hallucination or a hangover. He was in some kind of trap. His first +thought was to rush home and see if Helen was there. There was a great +sense of relief when he thought of her. Helen, with her grave blue eyes +and understanding manner, would listen to him and know what was the +matter. + + * * * * * + +He left the haunted drug store at a run, darted around the corner and up +the street to his car. But, though he had not locked the car, the door +resisted his twisting grasp. Shaking, pounding, swearing, Miller +wrestled with each of the doors. + +Abruptly he stiffened, as a horrible thought leaped into his being. His +gaze left the car and wandered up the street. Past the intersection, +past the one beyond that, on up the thoroughfare until the gray haze of +the city dimmed everything. And as far as Dave Miller could see, there +was no trace of motion. + +Cars were poised in the street, some passing other machines, some +turning corners. A street car stood at a safety zone; a man who had +leaped from the bottom step hung in space a foot above the pavement. +Pedestrians paused with one foot up. A bird hovered above a telephone +pole, its wings glued to the blue vault of the sky. + +With a choked sound, Miller began to run. He did not slacken his pace +for fifteen minutes, until around him were the familiar, reassuring +trees and shrub-bordered houses of his own street. But yet how strange +to him! + +The season was autumn, and the air filled with brown and golden leaves +that tossed on a frozen wind. Miller ran by two boys lying on a lawn, +petrified into a modern counterpart of the sculptor's "The Wrestlers." +The sweetish tang of burning leaves brought a thrill of terror to him; +for, looking down an alley from whence the smoke drifted, he saw a man +tending a fire whose leaping flames were red tongues that did not move. + +Sobbing with relief, the young druggist darted up his own walk. He tried +the front door, found it locked, and jammed a thumb against the +doorbell. But of course the little metal button was as immovable as a +mountain. So in the end, after convincing himself that the key could not +be inserted into the lock, he sprang toward the back. + +The screen door was not latched, but it might as well have been the +steel door of a bank vault. Miller began to pound on it, shouting: + +"Helen! Helen, are you in there? My God, dear, there's something wrong! +You've got to--" + +The silence that flowed in again when his voice choked off was the dead +stillness of the tomb. He could hear his voice rustling through the +empty rooms, and at last it came back to him like a taunt: "_Helen! +Helen!_" + + + + +CHAPTER II + +_Time Stands Still_ + + +For Dave Miller, the world was now a planet of death on which he alone +lived and moved and spoke. Staggered, utterly beaten, he made no attempt +to break into his home. But he did stumble around to the kitchen window +and try to peer in, anxious to see if there was a body on the floor. The +room was in semi-darkness, however, and his straining eyes made out +nothing. + +He returned to the front of the house, shambling like a somnambulist. +Seated on the porch steps, head in hands, he slipped into a hell of +regrets. He knew now that his suicide had been no hallucination. He was +dead, all right; and this must be hell or purgatory. + +Bitterly he cursed his drinking, that had led him to such a mad thing as +suicide. Suicide! He--Dave Miller--a coward who had taken his own life! +Miller's whole being crawled with revulsion. If he just had the last +year to live over again, he thought fervently. + +And yet, through it all, some inner strain kept trying to tell him he +was not dead. This was his own world, all right, and essentially +unchanged. What had happened to it was beyond the pale of mere +guesswork. But this one thing began to be clear: This was a world in +which change or motion of any kind was a foreigner. + + * * * * * + +Fire would not burn and smoke did not rise. Doors would not open, +liquids were solid. Miller's stubbing toe could not move a pebble, and a +blade of grass easily supported his weight without bending. In other +words, Miller began to understand, change had been stopped as surely as +if a master hand had put a finger on the world's balance wheel. + +Miller's ramblings were terminated by the consciousness that he had an +acute headache. His mouth tasted, as Herman used to say after a big +night, as if an army had camped in it. Coffee and a bromo were what he +needed. + +But it was a great awakening to him when he found a restaurant and +learned that he could neither drink the coffee nor get the lid off the +bromo bottle. Fragrant coffee-steam hung over the glass percolator, but +even this steam was as a brick wall to his probing touch. Miller started +gloomily to thread his way through the waiters in back of the counter +again. + +Moments later he stood in the street and there were tears swimming in +his eyes. + +"Helen!" His voice was a pleading whisper. "Helen, honey, where are +you?" + +There was no answer but the pitiful palpitation of utter silence. And +then, there was movement at Dave Miller's right! + +Something shot from between the parked cars and crashed against him; +something brown and hairy and soft. It knocked him down. Before he could +get his breath, a red, wet tongue was licking his face and hands, and he +was looking up into the face of a police dog! + +Frantic with joy at seeing another in this city of death, the dog would +scarcely let Miller rise. It stood up to plant big paws on his shoulders +and try to lick his face. Miller laughed out loud, a laugh with a +throaty catch in it. + +"Where'd you come from, boy?" he asked. "Won't they talk to you, either? +What's your name, boy?" + +There was a heavy, brass-studded collar about the animal's neck, and +Dave Miller read on its little nameplate: "Major." + +"Well, Major, at least we've got company now," was Miller's sigh of +relief. + +For a long time he was too busy with the dog to bother about the sobbing +noises. Apparently the dog failed to hear them, for he gave no sign. +Miller scratched him behind the ear. + +"What shall we do now, Major? Walk? Maybe your nose can smell out +another friend for us." + +They had gone hardly two blocks when it came to him that there was a +more useful way of spending their time. The library! Half convinced that +the whole trouble stemmed from his suicide shot in the head--which was +conspicuously absent now--he decided that a perusal of the surgery books +in the public library might yield something he could use. + + * * * * * + +That way they bent their steps, and were soon mounting the broad cement +stairs of the building. As they went beneath the brass turnstile, the +librarian caught Miller's attention with a smiling glance. He smiled +back. + +"I'm trying to find something on brain surgery," he explained. "I--" + +With a shock, then, he realized he had been talking to himself. + +In the next instant, Dave Miller whirled. A voice from the bookcases +chuckled: + +"If you find anything, I wish you'd let me know. I'm stumped myself!" + + * * * * * + +From a corner of the room came an elderly, half-bald man with tangled +gray brows and a rueful smile. A pencil was balanced over his ear, and a +note-book was clutched in his hand. + +"You, too!" he said. "I had hoped I was the only one--" + +Miller went forward hurriedly to grip his hand. + +"I'm afraid I'm not so unselfish," he admitted. "I've been hoping for +two hours that I'd run into some other poor soul." + +"Quite understandable," the stranger murmured sympathetically. "But in +my case it is different. You see--I am responsible for this whole tragic +business!" + +"You!" Dave Miller gulped the word. "I--I thought--" + +The man wagged his head, staring at his note pad, which was littered +with jumbled calculations. Miller had a chance to study him. He was +tall, heavily built, with wide, sturdy shoulders despite his sixty +years. Oddly, he wore a gray-green smock. His eyes, narrowed and intent, +looked gimlet-sharp beneath those toothbrush brows of his, as he stared +at the pad. + +"There's the trouble, right there," he muttered. "I provided only three +stages of amplification, whereas four would have been barely enough. No +wonder the phase didn't carry through!" + +"I guess I don't follow you," Miller faltered. "You mean--something you +did--" + +"I should think it was something I did!" The baldish stranger scratched +his head with the tip of his pencil. "I'm John Erickson--you know, the +Wanamaker Institute." + +Miller said: "Oh!" in an understanding voice. Erickson was head of +Wanamaker Institute, first laboratory of them all when it came to +exploding atoms and blazing trails into the wildernesses of science. + + * * * * * + +Erickson's piercing eyes were suddenly boring into the younger man. + +"You've been sick, haven't you?" he demanded. + +"Well--no--not really sick." The druggist colored. "I'll have to admit +to being drunk a few hours ago, though." + +"Drunk--" Erickson stuck his tongue in his cheek, shook his head, +scowled. "No, that would hardly do it. There must have been something +else. The impulsor isn't _that_ powerful. I can understand about the +dog, poor fellow. He must have been run over, and I caught him just at +the instant of passing from life to death." + +"Oh!" Dave Miller lifted his head, knowing now what Erickson was driving +at. "Well, I may as well be frank. I'm--I committed suicide. That's how +drunk I was. There hasn't been a suicide in the Miller family in +centuries. It took a skinful of liquor to set the precedent." + +Erickson nodded wisely. "Perhaps we will find the precedent hasn't +really been set! But no matter--" His lifted hand stopped Miller's +eager, wondering exclamation. "The point is, young man, we three are in +a tough spot, and it's up to us to get out of it. And not only we, but +heaven knows how many others the world over!" + +"Would you--maybe you can explain to my lay mind what's happened," +Miller suggested. + +"Of course. Forgive me. You see, Mr.--" + +"Miller. Dave Miller." + +"Dave it is. I have a feeling we're going to be pretty well acquainted +before this is over. You see, Dave, I'm a nut on so-called 'time +theories.' I've seen time compared to everything from an entity to a +long, pink worm. But I disagree with them all, because they postulate +the idea that time is constantly being manufactured. Such reasoning is +fantastic! + +"Time exists. Not as an ever-growing chain of links, because such a +chain would have to have a tail end, if it has a front end; and who can +imagine the period when time did not exist? So I think time is like a +circular train-track. Unending. We who live and die merely travel around +on it. The future exists simultaneously with the past, for one instant +when they meet." + + * * * * * + +Miller's brain was humming. Erickson shot the words at him +staccato-fashion, as if they were things known from Great Primer days. +The young druggist scratched his head. + +"You've got me licked," he admitted. "I'm a stranger here, myself." + +"Naturally you can't be expected to understand things I've been all my +life puzzling about. Simplest way I can explain it is that we are on a +train following this immense circular railway. + +"When the train reaches the point where it started, it is about to +plunge into the past; but this is impossible, because the point where it +started is simply the caboose of the train! And that point is always +ahead--and behind--the time-train. + +"Now, my idea was that with the proper stimulus a man could be thrust +across the diameter of this circular railway to a point in his past. +Because of the nature of time, he could neither go ahead of the train to +meet the future nor could he stand still and let the caboose catch up +with him. But--he could detour across the circle and land farther back +on the train! And that, my dear Dave, is what you and I and Major have +done--almost." + +"Almost?" Miller said hoarsely. + +Erickson pursed his lips. "We are somewhere partway across the space +between present and past. We are living in an instant that can move +neither forward nor back. You and I, Dave, and Major--and the Lord knows +how many others the world over--have been thrust by my time impulsor +onto a timeless beach of eternity. We have been caught in time's +backwash. Castaways, you might say." + +An objection clamored for attention in Miller's mind. + +"But if this is so, where are the rest of them? Where is my wife?" + +"They are right here," Erickson explained. "No doubt you could see your +wife if you could find her. But we see them as statues, because, for us, +time no longer exists. But there was something I did not count on. I did +not know that it would be possible to live in one small instant of time, +as we are doing. And I did not know that only those who are hovering +between life and death can deviate from the normal process of time!" + +"You mean--we're dead!" Miller's voice was a bitter monotone. + +"Obviously not. We're talking and moving, aren't we? But--we are on the +fence. When I gave my impulsor the jolt of high power, it went wrong and +I think something must have happened to me. At the same instant, you had +shot yourself. + +"Perhaps, Dave, you are dying. The only way for us to find out is to try +to get the machine working and topple ourselves one way or the other. If +we fall back, we will all live. If we fall into the present--we may +die." + +"Either way, it's better than this!" Miller said fervently. + +"I came to the library here, hoping to find out the things I must know. +My own books are locked in my study. And these--they might be cemented +in their places, for all their use to me. I suppose we might as well go +back to the lab." + +Miller nodded, murmuring: "Maybe you'll get an idea when you look at the +machine again." + +"Let's hope so," said Erickson grimly. "God knows I've failed so far!" + + + + +CHAPTER III + +_Splendid Sacrifice_ + + +It was a solid hour's walk out to West Wilshire, where the laboratory +was. The immense bronze and glass doors of Wanamaker Institute were +closed, and so barred to the two men. But Erickson led the way down the +side. + +"We can get in a service door. Then we climb through transoms and +ventilators until we get to my lab." + +Major frisked along beside them. He was enjoying the action and the +companionship. It was less of an adventure to Miller, who knew death +might be ahead for the three of them. + +Two workmen were moving a heavy cabinet in the side service door. To get +in, they climbed up the back of the rear workman, walked across the +cabinet, and scaled down the front of the leading man. They went up the +stairs to the fifteenth floor. Here they crawled through a transom into +the wing marked: + +"Experimental. Enter Only By Appointment." + +Major was helped through it, then they were crawling along the dark +metal tunnel of an air-conditioning ventilator. It was small, and took +some wriggling. + +In the next room, they were confronted by a stern receptionist on whose +desk was a little brass sign, reading: + +"Have you an appointment?" + +Miller had had his share of experience with receptionists' ways, in his +days as a pharmaceutical salesman. He took the greatest pleasure now in +lighting his cigarette from a match struck on the girl's nose. Then he +blew the smoke in her face and hastened to crawl through the final +transom. + +John Erickson's laboratory was well lighted by a glass-brick wall and a +huge skylight. The sun's rays glinted on the time impulsor.[1] The +scientist explained the impulsor in concise terms. When he had finished, +Dave Miller knew just as little as before, and the outfit still +resembled three transformers in a line, of the type seen on power-poles, +connected to a great bronze globe hanging from the ceiling. + +"There's the monster that put us in this plight," Erickson grunted. "Too +strong to be legal, too weak to do the job right. Take a good look!" + + * * * * * + +With his hands jammed in his pockets, he frowned at the complex +machinery. Miller stared a few moments; then transferred his interests +to other things in the room. He was immediately struck by the +resemblance of a transformer in a far corner to the ones linked up with +the impulsor. + +"What's that?" he asked quickly. "Looks the same as the ones you used +over there." + +"It is." + +"But-- Didn't you say all you needed was another stage of power?" + +"That's right." + +"Maybe I'm crazy!" Miller stared from impulsor to transformer and back +again. "Why don't you use it, then?" + +"Using what for the connection?" Erickson's eyes gently mocked him. + +"Wire, of course!" + +The scientist jerked a thumb at a small bale of heavy copper wire. + +"Bring it over and we'll try it." + +Miller was halfway to it when he brought up short. Then a sheepish grin +spread over his features. + +"I get it," he chuckled. "That bale of wire might be the Empire State +Building, as far as we're concerned. Forgive my stupidity." + +Erickson suddenly became serious. + +"I'd like to be optimistic, Dave," he muttered, "but in all fairness to +you I must tell you I see no way out of this. The machine is, of course, +still working, and with that extra stage of power, the uncertainty would +be over. But where, in this world of immovable things, will we find a +piece of wire twenty-five feet long?" + + * * * * * + +There was a warm, moist sensation against Miller's hand, and when he +looked down Major stared up at him commiseratingly. Miller scratched him +behind the ear, and the dog closed his eyes, reassured and happy. The +young druggist sighed, wishing there were some giant hand to scratch him +behind the ear and smooth _his_ troubles over. + +"And if we don't get out," he said soberly, "we'll starve, I suppose." + +"No, I don't think it will be that quick. I haven't felt any hunger. I +don't expect to. After all, our bodies are still living in one instant +of time, and a man can't work up a healthy appetite in one second. Of +course, this elastic-second business precludes the possibility of +disease. + +"Our bodies must go on unchanged. The only hope I see is--when we are on +the verge of madness, suicide. That means jumping off a bridge, I +suppose. Poison, guns, knives--all the usual wherewithal--are denied to +us." + +Black despair closed down on Dave Miller. He thrust it back, forcing a +crooked grin. + +"Let's make a bargain," he offered. "When we finish fooling around with +this apparatus, we split up. We'll only be at each other's throat if we +stick together. I'll be blaming you for my plight, and I don't want to. +It's my fault as much as yours. How about it?" + +John Erickson gripped his hand. "You're all right, Dave. Let me give you +some advice. If ever you do get back to the present ... keep away from +liquor. Liquor and the Irish never did mix. You'll have that store on +its feet again in no time." + +"Thanks!" Miller said fervently. "And I think I can promise that nothing +less than a whiskey antidote for snake bite will ever make me bend an +elbow again!" + + * * * * * + +For the next couple of hours, despondency reigned in the laboratory. But +it was soon to be deposed again by hope. + +Despite all of Erickson's scientific training, it was Dave Miller +himself who grasped the down-to-earth idea that started them hoping +again. He was walking about the lab, jingling keys in his pocket, when +suddenly he stopped short. He jerked the ring of keys into his hand. + +"Erickson!" he gasped. "We've been blind. Look at this!" + +The scientist looked; but he remained puzzled. + +"Well--?" he asked skeptically. + +"There's our wire!" Dave Miller exclaimed. "You've got keys; I've got +keys. We've got coins, knives, wristwatches. Why can't we lay them all +end to end--" + +Erickson's features looked as if he had been electrically shocked. + +"You've hit it!" he cried. "If we've got enough!" + +With one accord, they began emptying their pockets, tearing off +wristwatches, searching for pencils. The finds made a little heap in the +middle of the floor. Erickson let his long fingers claw through thinning +hair. + +"God give us enough! We'll only need the one wire. The thing is plugged +in already and only the positive pole has to be connected to the globe. +Come on!" + +Scooping up the assortment of metal articles, they rushed across the +room. With his pocket-knife, Dave Miller began breaking up the metal +wrist-watch straps, opening the links out so that they could be laid +end-to-end for the greatest possible length. They patiently broke the +watches to pieces, and of the junk they garnered made a ragged foot and +a half of "wire." Their coins stretched the line still further. + +They had ten feet covered before the stuff was half used up. Their metal +pencils, taken apart, gave them a good two feet. Key chains helped +generously. With eighteen feet covered, their progress began to slow +down. + +Perspiration poured down Miller's face. Desperately, he tore off his +lodge ring and cut it in two to pound it flat. From garters and +suspenders they won a few inches more. And then--they stopped--feet from +their goal. + +Miller groaned. He tossed his pocket-knife in his hand. + +"We can get a foot out of this," he estimated. "But that still leaves us +way short." + +Abruptly, Erickson snapped his fingers. + +"Shoes!" he gasped. "They're full of nails. Get to work with that knife, +Dave. We'll cut out every one of 'em!" + + * * * * * + +In ten minutes, the shoes were reduced to ragged piles of tattered +leather. Erickson's deft fingers painstakingly placed the nails, one by +one, in the line. The distance left to cover was less than six inches! + +He lined up the last few nails. Then both men were sinking back on their +heels, as they saw there was a gap of three inches to cover! + +"Beaten!" Erickson ground out. "By three inches! Three inches from the +present ... and yet it might as well be a million miles!" + +Miller's body felt as though it were in a vise. His muscles ached with +strain. So taut were his nerves that he leaped as though stung when +Major nuzzled a cool nose into his hand again. Automatically, he began +to stroke the dog's neck. + +"Well, that licks us," he muttered. "There isn't another piece of +movable metal in the world." + +Major kept whimpering and pushing against him. Annoyed, the druggist +shoved him away. + +"Go 'way," he muttered. "I don't feel like--" + +Suddenly then his eyes widened, as his touch encountered warm metal. He +whirled. + +"There it is!" he yelled. "The last link. _The nameplate on Major's +collar!_" + +In a flash, he had torn the little rectangular brass plate from the dog +collar. Erickson took it from his grasp. Sweat stood shiny on his skin. +He held the bit of metal over the gap between wire and pole. + +"This is it!" he smiled brittlely. "We're on our way, Dave. Where, I +don't know. To death, or back to life. But--we're going!" + +The metal clinked into place. Live, writhing power leaped through the +wire, snarling across partial breaks. The transformers began to hum. The +humming grew louder. Singing softly, the bronze globe over their heads +glowed green. Dave Miller felt a curious lightness. There was a snap in +his brain, and Erickson, Major and the laboratory faded from his senses. + +Then came an interval when the only sound was the soft sobbing he had +been hearing as if in a dream. That, and blackness that enfolded him +like soft velvet. Then Miller was opening his eyes, to see the familiar +walls of his own kitchen around him! + +Someone cried out. + +"Dave! Oh, Dave, dear!" + +It was Helen's voice, and it was Helen who cradled his head in her lap +and bent her face close to his. + +"Oh, thank God that you're alive--!" + +"Helen!" Miller murmured. "What--are--you--doing here?" + +"I couldn't go through with it. I--I just couldn't leave you. I came +back and--and I heard the shot and ran in. The doctor should be here. I +called him five minutes ago." + +"_Five minutes_ ... How long has it been since I shot myself?" + +"Oh, just six or seven minutes. I called the doctor right away." + +Miller took a deep breath. Then it _must_ have been a dream. All +that--to happen in a few minutes-- It wasn't possible! + +"How--how could I have botched the job?" he muttered. "I wasn't drunk +enough to miss myself completely." + +Helen looked at the huge revolver lying in the sink. + +"Oh, that old forty-five of Grandfather's! It hasn't been loaded since +the Civil War. I guess the powder got damp or something. It just sort of +sputtered instead of exploding properly. Dave, promise me something! +You won't ever do anything like this again, if I promise not to nag +you?" + +Dave Miller closed his eyes. "There won't be any need to nag, Helen. +Some people take a lot of teaching, but I've had my lesson. I've got +ideas about the store which I'd been too lazy to try out. You know, I +feel more like fighting right now than I have for years! We'll lick 'em, +won't we, honey?" + +Helen buried her face in the hollow of his shoulder and cried softly. +Her words were too muffled to be intelligible. But Dave Miller +understood what she meant. + + * * * * * + +He had thought the whole thing a dream--John Erickson, the "time +impulsor" and Major. But that night he read an item in the _Evening +Courier_ that was to keep him thinking for many days. + + POLICE INVESTIGATE DEATH OF SCIENTIST HERE IN LABORATORY + + John M. Erickson, director of the Wanamaker Institute, died at his + work last night. Erickson was a beloved and valuable figure in the + world of science, famous for his recently publicized "time lapse" + theory. + + Two strange circumstances surrounded his death. One was the presence + of a German shepherd dog in the laboratory, its head crushed as if + with a sledgehammer. The other was a chain of small metal objects + stretching from one corner of the room to the other, as if intended + to take the place of wire in a circuit. + + Police, however, discount this idea, as there was a roll of wire + only a few feet from the body. + + +THE END + + +FOOTNOTES: + +[1] Obviously this electric time impulsor is a machine in the nature of +an atomic integrator. It "broadcasts" great waves of electrons which +align all atomic objects in rigid suspension. + +That is to say, atomic structures are literally "frozen." Living bodies +are similarly affected. It is a widely held belief on the part of many +eminent scientists that all matter, broken down into its elementary +atomic composition, is electrical in structure. + +That being so, there is no reason to suppose why Professor Erickson may +not have discovered a time impulsor which, broadcasting electronic +impulses, "froze" everything within its range.--ED. + + + + +Transcriber's Note: + + This etext was produced from _Amazing Stories_ April 1956 and was + first published in _Amazing Stories_ October 1940. 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. + + + + + +End of Project Gutenberg's The Day Time Stopped Moving, by Bradner Buckner + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DAY TIME STOPPED MOVING *** + +***** This file should be named 27053.txt or 27053.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/7/0/5/27053/ + +Produced by Greg Weeks, Stephen Blundell and the Online +Distributed Proofreading Team at http://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 +http://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 http://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 +http://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 http://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 http://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 checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is 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: + + http://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. |
