diff options
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/51074-h.zip | bin | 189308 -> 0 bytes | |||
| -rw-r--r-- | old/51074-h/51074-h.htm | 1125 | ||||
| -rw-r--r-- | old/51074-h/images/cover.jpg | bin | 96033 -> 0 bytes | |||
| -rw-r--r-- | old/51074-h/images/illus.jpg | bin | 74187 -> 0 bytes | |||
| -rw-r--r-- | old/51074.txt | 1011 | ||||
| -rw-r--r-- | old/51074.zip | bin | 18139 -> 0 bytes |
9 files changed, 17 insertions, 2136 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..11b110e --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #51074 (https://www.gutenberg.org/ebooks/51074) diff --git a/old/51074-h.zip b/old/51074-h.zip Binary files differdeleted file mode 100644 index 0531173..0000000 --- a/old/51074-h.zip +++ /dev/null diff --git a/old/51074-h/51074-h.htm b/old/51074-h/51074-h.htm deleted file mode 100644 index e5c65dd..0000000 --- a/old/51074-h/51074-h.htm +++ /dev/null @@ -1,1125 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=us-ascii" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of Don't Shoot, by Robert Zacks. - </title> - - <link rel="coverpage" href="images/cover.jpg" /> - - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2 { - text-align: center; /* all headings centered */ - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} - -.center {text-align: center;} - -.right {text-align: right;} - -.caption {font-weight: bold;} - -/* Images */ -.figcenter { - margin: auto; - text-align: center; -} - -div.titlepage { - text-align: center; - page-break-before: always; - page-break-after: always; -} - -div.titlepage p { - text-align: center; - text-indent: 0em; - font-weight: bold; - line-height: 1.5; - margin-top: 3em; -} - -.ph1, .ph2, .ph3, .ph4 { text-align: center; text-indent: 0em; font-weight: bold; } -.ph1 { font-size: xx-large; margin: .67em auto; } -.ph2 { font-size: x-large; margin: .75em auto; } -.ph3 { font-size: large; margin: .83em auto; } -.ph4 { font-size: medium; margin: 1.12em auto; } - - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of Don't Shoot, by Robert Zacks - -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/license - - -Title: Don't Shoot - -Author: Robert Zacks - -Release Date: January 29, 2016 [EBook #51074] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK DON'T SHOOT *** - - - - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<div class="figcenter"> - <img src="images/cover.jpg" width="391" height="500" alt=""/> -</div> - -<hr class="chap" /> - -<div class="titlepage"> -<h1>Don't Shoot</h1> - -<p>By ROBERT ZACKS</p> - -<p>Illustrated by ASHMAN</p> - -<p>[Transcriber's Note: This etext was produced from<br /> -Galaxy Science Fiction April 1955.<br /> -Extensive research did not uncover any evidence that<br /> -the U.S. copyright on this publication was renewed.]</p> - -</div> - -<hr class="chap" /> - -<p class="ph3"><i>A man has to have a place to confess a horrible<br /> -sin ... and this is as good as any other!</i></p> - -<hr class="chap" /> - -<p>I can no longer keep my terrible secret, although the thought of what -will happen to me, when I tell my story, gives me a trembling from -head to toe. Without doubt, word will flash to the proper authorities -and stern-faced men with sympathetic eyes will bring straitjacket and -sedatives, and hunt me down to tear me from Mary's clinging arms. A -padded cell will be made ready for another unfortunate.</p> - -<p>Nevertheless what we have just read in the newspapers has made us -fearfully agree that I must tell all, regardless of my own fate. So let -me say this:</p> - -<p>If it is true that an expedition is being organized in London to go -to the cold and rocky wastes of the Himalayas for the purpose of -investigating that astonishing primeval creature called 'The Abominable -Snowman,' then I am forced to tell you immediately ... <i>the Abominable -Snowman is none other than Mr. Eammer, the famous movie magnate</i>.</p> - -<p>And I am the one responsible for this amazing situation. I and my -invention which Mr. Eammer had hired me to develop, an invention which -would put 3-D and Cinemascope and the new Largoscope process so far -behind in the fierce Hollywood battle for supremacy that Mr. Eammer -would at last have complete control of the industry, and, for that -matter, television also.</p> - -<p>You will say this is impossible because one or two glimpses of the -Abominable Snowman have shown it to be an apelike creature?</p> - -<p>And the animal's body is covered with thick, coarse hair?</p> - -<p>Well, did you ever see Mr. Eammer lounging beside his elaborate Beverly -Hills swimming pool? He looks as if he's just climbed down from a -tree. The last young movie lovely an agent had brought around to talk -contracts took one look, screamed and fainted. It is said she was -hysterical for two days.</p> - -<hr class="tb" /> - -<p>But let me tell how it all started. Remember those awful days when -television, like a monster with a wild pituitary gland, grew until it -took the word 'colossal' away from filmdom? What a battle! Like two -giant bears rearing up face to face, roaring, screaming, swapping -terrible blows of mighty paws, the two industries fought, with the -film industry reeling bloodily, at first, then rallying with 3-D, then -Cinemascope, and television pressing home the fierce attack with color -TV.</p> - -<p>And who was caught in the middle of all this, without <i>any</i> protection? -Mr. Eammer. Why? Well, let me give you some background on that -character. When talkies killed the era of silent films, Mr. Eammer -nearly got shaken loose in the change. He'd scornfully dismissed the -new development.</p> - -<p>"Ha," he'd said. "People come to my movies for one of two things. To -fall asleep, or to look at the pretty girlies."</p> - -<p>When the movie industry began to look for good stories and material -that stimulated the mind as well as the emotion, Mr. Eammer had jeered. -"Ha. People are stupid, people are sheep. They don't want to think, -they just want to see the pretty girlies."</p> - -<p>Six months later, Mr. Eammer had sent emissaries to England to try to -hire this guy Billy Shakespeare. "Offer him anything," ordered Mr. -Eammer grimly. "Tell him we'll fill the water cooler in his office with -gin, he can pick any secretary he likes from among our starlets, -and ... and ..." he swallowed, then recklessly added, "we'll even give -him screen credit."</p> - -<p>Of course the men he'd sent out searching knew Billy Shakespeare had -kicked off, though they weren't sure whether it was last year or ten -years ago. But it was a fine trip on the expense account and after a -few weeks of riotous searching in London's gayer areas, they wired that -Shakespeare had caught a bad cold, the penicillin had run out and he'd -not lasted the night.</p> - -<p>But Mr. Eammer pulled out of his situation. He bought up just the right -to use the titles of great classic novels, ignored the contents, and -had entirely different stories written.</p> - -<p>"Not enough girlies in their versions," he explained, frowning. "Them -hack writers don't have stuff with real interest to it."</p> - -<hr class="tb" /> - -<p>By the time the customers were in the packed movie houses, they were so -stunned with the spectacle of unclad femininity that they'd completely -forgotten what they'd come to see. Half of them had never read the -classics anyway.</p> - -<p>So the dough rolled in and Mr. Eammer's estate was photographed in -color and published in "Beautiful Homes" magazines, and high school -newspapers sent nervous young reporters to ask advice for graduates -yearning to get into the movie business. How, they asked humbly, could -they carve a place for themselves?</p> - -<p>Mr. Eammer beamed and said, "Girlies. Use plenty of girlies. It gets -them every time."</p> - -<p>The printed interview, as approved and edited by high school faculty -advisors, did not contain this advice.</p> - -<p>But the girlies weren't enough to save Mr. Eammer when television hit -the movies on its glass jaw. He didn't believe what was happening, -until it was too late. When his studio started hitting the skids, he -hastily withdrew funds and liquidated assets and rented a number of -safe-deposit boxes. Then he sat back and let his creditors scream a -symphony of threats.</p> - -<p>It was at that time that Mr. Eammer heard that I, a young physicist -interested in optics, had stumbled across an oddity which might -revolutionize the movie industry. He'd heard of this through Mary, -whom I love with all my heart, and who will sometimes embarrass me by -proudly telling people how intelligent I am.</p> - -<p>As Mr. Eammer's secretary, she let him know all about me, just as she -let me know all I have just told you about him. Mary is not a reticent -person; she is too loving of her fellow man to withhold even the -slightest information and perhaps I should have kept my astonishing -discovery to myself.</p> - -<p>In any case the phone rang in my very small laboratory one day and -Mary's excited voice said, "Joe, darling. It's me. I told him about -your invention. Come down right away."</p> - -<p>"Who?" I said. "Where? What are you talking about?"</p> - -<p>"To the studio," she said impatiently. "To see my boss, Mr. Eammer. He -says if your invention is...."</p> - -<p>"Now wait a minute," I shouted with indignation. "I told you not -to tell <i>anybody</i> about it. It's not perfected. In fact, I don't -understand how it works exactly."</p> - -<p>"Stop being so modest," she said firmly. "I know you. You're a genius -and genius is never, never satisfied. I read all about it. You want us -to get married, don't you?"</p> - -<p>"Yes," I said, sudden longing surging through my heart.</p> - -<p>"Can we afford to? No. So come on down. Anyway, I already told him. -Don't make me into a ... a liar," begged Mary. "If he likes your -invention, maybe he'll buy it."</p> - -<hr class="tb" /> - -<p>The things we do for the women we love. I went there in fear and -was trembling with good reason. Not knowing quite how my invention -operated, it could be stolen from me, because it might not be -patentable. It was more <i>discovery</i> than <i>invention</i>.</p> - -<p>Oh, I can tell you, I went to see Mr. Eammer in a cold sweat of fear -that I might be losing my hold on the strange and accidental phenomena -across which I'd stumbled.</p> - -<p>I got quite a greeting.</p> - -<p>When I walked into his elaborate outer offices, the workers were -sitting hushed in fear before their desks. From within his private -offices I could hear bellowing and the sounds of things smashing.</p> - -<p>Mary hurried over to me, her warm, brown eyes pleading. Before she -could say anything, I heard Mr. Eammer say in a shout, right through -the partly opened door, "Well, what have you done about it?"</p> - -<p>A trembling voice said, "Sir, I've cut staff fifty per cent."</p> - -<p>"Stupid!" roared Mr. Eammer's voice. "Who's talking about that? Did -you ask Peterson of World Studios if he'll license us to use his new -Largoscope system?"</p> - -<p>"Y-yes." A moment of terrified silence. "He s-said your outfit could -use his Largoscope on only one occasion. When they f-film your funeral."</p> - -<p>There was a gasp, then the door opened and a perspiring, harried, -bald-headed man lurched out. With glazed eyes, he made a beeline for -the outer door.</p> - -<p>"Let's go in," said Mary eagerly "He'll be so glad to see you."</p> - -<p>I looked at her incredulously, but she took my arm and dragged me -inside. There Mr. Eammer sat twitching and shuddering, his head in his -pudgy hands.</p> - -<p>He looked dully at us from tiny eyes. "Everybody hates my genius," he -said, waggling his head from side to side. "Everybody envies me. The -wild dogs are gathering to pull down the noble elk."</p> - -<p>As he glared at us, Mary said swiftly, "Yes, sir."</p> - -<p>"The wounded lion," whispered Mr. Eammer dramatically, tears of -self-pity coming to his eyes. "Surrounded by jackals and laughing -hyenas. I am dying of my wounds." He uttered a wail. "Everybody's got -a new filming system but me." He drew a deep breath. "Who the hell are -you?" he demanded.</p> - -<p>"He's...." began Mary.</p> - -<p>"Wait a minute," he said. He grabbed a phone from the six on his desk. -"Hey. Publicity.... Hey, Mike. I want rumors spread about Largoscope. -Top doctors say it'll ruin the eyes, make you stone blind." He paused, -his face purpling. "Okay, if you can't do it, then get another job. -You're fired."</p> - -<p>He slammed the phone down. "No cooperation from anybody," he said -heavily. "Surrounded by incompetents." He glared at me. "Who the hell -are you?"</p> - -<p>"I'm ..." I began.</p> - -<hr class="tb" /> - -<p>At this moment, the door opened and in came a man with a sheaf of -papers and a film of sweat on his forehead. "I hate to interrupt, Mr. -Eammer," he said doggedly, "but I got your note on the Lolita Vaughn -contract we drew up. I knew there must be some mistake, so...."</p> - -<p>"Mistake, what kind of mistake?" snapped Mr. Eammer. "I want you to -tear the contract up. I said we aren't going to sign after all. I got a -bigger name for the picture than her."</p> - -<p>The man winced. "Well," he said. "I ... I was just wondering. I mean, -after all, we talked her into turning down that fat part in the -new Broadway show that opened last night. It's a smash hit, I read -today...."</p> - -<p>"Tough," shouted Mr. Eammer. "My heart bleeds. Did I know when I made -that promise that I could get a big star at such a cheap price? I acted -hastily, I made a mistake, so I corrected that mistake." He looked -stern. "Would it be fair to the stockholders if I took Lolita under -these conditions?"</p> - -<p>"But <i>you</i> own all the stock!"</p> - -<p>"That's what I said, you fool!" roared Mr. Eammer. "Get out of here."</p> - -<p>As the man fled, I stared at Mr. Eammer in horror and disgust. Never -would I trust a man like this, was my thought.</p> - -<p>He glared at me. "Who the hell are you?" he snarled. "I keep asking you -and you stand there like a dummy."</p> - -<p>"He's the scientist I told you about," said Mary. "He's a genius. He -has a new invention that will make Largoscope obsolete."</p> - -<p>"This?" said the producer with incredulity. "This beanpole is a -scientist? I don't believe it." He stared morosely at me, shaking his -head. "He looks like an elevator operator who can't figure out what -button to push."</p> - -<p>"I beg your pardon!" I said with indignation. "I am a graduate of -M.I.T. I graduated <i>summa cum laude</i>."</p> - -<p>"Anybody can pick up a few words of French," he sneered. "If you're -such a genius, how much money have you got, hah?" As I looked at him -numbly, my jaw hanging open, he tapped his chest with a sausagelike -forefinger. "Now <i>I</i> am a genius, see? I'm the guy who hires <i>you</i>. -Now that we got that straight, what's this nonsense about you being -smart enough to figure out a new invention that will make Largoscope -obsolete?"</p> - -<p>The weary cynicism in his gross face enraged me. If ever I had an -immediate yearning to crush a man, to make him say 'uncle,' to have him -beg and yearn, it was at that moment and toward this insufferable moron.</p> - -<hr class="tb" /> - -<p>Within half an hour, we had driven back to my small laboratory. He -peered suspiciously at the involved maze of wiring and electronic -equipment. I pointed to the small un-roofed cabinet on my long -work-table. It was two feet deep and the four walls, which were three -feet long, were studded with small tubes I'd rather not describe, since -I've developed them myself and they produce a new kind of ray.</p> - -<p>"That's my camera," I said.</p> - -<p>"It looks more like a diathermy machine or a sweatbox for reducing," he -said skeptically. "How's it operate?"</p> - -<p>I set a few dials and went to find Susie, my white cat. "Here pussy, -pussy," I said tenderly.</p> - -<p>"The man's gone nuts," said Mr. Eammer in disgust.</p> - -<p>"Take it easy," I snapped. "That's how I made my strange discovery. I -was doing a test on the effect of a new kind of radiation on fabrics. -And Susie, my cat, walked over the equipment. First she stepped on a -dial, turning it accidentally to full power, then she wandered into -the box."</p> - -<p>"So what?"</p> - -<p>"Watch and see," I said.</p> - -<p>I got Susie and she complacently allowed herself to be put into the -box. I placed Mary at the dials with instructions and took Mr. Eammer -to the next room and pointed to a huge circle chalked on the floor. The -movie magnate waited impatiently.</p> - -<p>"Mary," I shouted. "Okay. Turn dial number one to full force."</p> - -<p>We heard a click.</p> - -<p>Then Mr. Eammer yelped and cowered behind me. Because in front of us, -within the chalked circle, appeared a giant eight-foot-tall cat, an -enormous duplicate of Susie. Susie was licking her paw with a tongue -that was nearly two feet long.</p> - -<hr class="chap" /> - -<div class="figcenter"> - <img src="images/illus.jpg" width="402" height="500" alt=""/> -</div> - -<hr class="chap" /> - -<p>"Don't be afraid," I said proudly. "It's just an image. Look." I -stepped forward and ran my hand through the air where the giant figure -of Susie ignored me. My hand disappeared into the image, and I felt the -usual puzzling tingle, as if I were getting a shock. And Susie, from -the next room, uttered a faint meow and stopped licking her paw as if -she, too, felt something.</p> - -<p>"But ... but there's no <i>screen</i>," Eammer said. "And ... and it looks -<i>real</i>. It's got three dimensions like an actual body." He cautiously -approached, his hands shaking with excitement. He tip-toed around -behind the cat image. He choked, "It's like a real, living cat all -around."</p> - -<p>"You haven't seen anything yet," I said happily. "Watch this. Mary," I -yelled again. "Turn dial number two very slowly."</p> - -<hr class="tb" /> - -<p>As we stared, the image of the three-dimensional Susie shrank from -eight feet all the way down to a three-dimensional miniature cat the -size of a thimble.</p> - -<p>Mr. Eammer looked as if he might faint.</p> - -<p>"Good-by, Largoscope," I said grimly. "This will make all 3-D and large -screen systems obsolete. It will revolutionize television, too. People -will sit home and see actual <i>figures</i>, three-dimensional figures of -real people. There will be no screens at all. The effects of depth and -solidity, as you see, are perfect...."</p> - -<p>Suddenly Susie in the next room gave a yelping meow and Mary gasped. We -jumped, then ran inside. Mary was wringing her hand. There was a little -smoke in the room.</p> - -<p>"My hand hit a wire," said Mary, embarrassed. "I guess I caused a short -circuit or something. I'm sorry. All this smoke." She put her hands to -her eyes, rubbing.</p> - -<p>"Susie all right?" I said.</p> - -<p>"I guess so," she said. "She moved so fast I could hardly see...."</p> - -<p>"My dear fellow." Mr. Eammer was most cordial. He put his arm around -my shoulders. He was beaming at me. He was offering me a fat cigar. -"What a wonderful invention. You are indeed a genius and I offer you my -humblest apologies."</p> - -<p>"I accept them," I said, pushing him away with distaste. "You may leave -now, Mr. Eammer."</p> - -<p>"Leave? Not until we've signed a contract, my friend. I want that -invention."</p> - -<p>"Mr. Eammer, that invention isn't perfected yet. I don't even know how -it works. The principles are beyond me. It is something new in the -world of physics and optics, and...."</p> - -<p>"That's all right," he cried. "I'll give you six months. A year. More. -But I want it...."</p> - -<p>"No. I'm afraid I don't trust you," I said.</p> - -<p>Far from being offended, he was delighted. He laughed as if I'd said -something witty. "Of course you don't," he said. "You don't trust me -and you don't like me. But just listen to my offer."</p> - -<hr class="tb" /> - -<p>Right then and there Mr. Eammer made an offer that had my head -swimming. He would, first of all, deposit in an account in my name the -sum of one million dollars—free of taxes. Second, he would include -in the contract a stipulation that I'd get fifty per cent of all -royalties. Third—and <i>very</i> important to me—in the event that the -patent he would apply for in my name was refused, or if it was broken -by further research, I could keep the million dollars.</p> - -<p>"And last," said Mr. Eammer, his nostrils flaring as he closed in for -the kill, "I'll make your girl friend, Mary, a big movie star."</p> - -<p>Mary's eyes widened. She clasped her hands before her, nervously. "Me?" -she whispered. "B-but I can't act."</p> - -<p>"What's that got to do with it?" Mr. Eammer asked impatiently. "You -just got to hold still when the male lead grabs you. Leave it all to -him, he knows what to do."</p> - -<p>"No," I cried, appalled. "I don't want anybody else kissing Mary."</p> - -<p>"Neither do I," said Mary, blushing.</p> - -<p>"You're absolutely right." Mr. Eammer uttered a deep sigh. "Such deep -love, such clean emotion, it cuts my heart out, honestly. Okay, we'll -give the script a scrubbing. Nobody'll put a finger on her."</p> - -<p>"I don't think I'm interested," said Mary regretfully.</p> - -<p>Mr. Eammer was staggered. He recovered immediately and said hastily, -"Smart girl. What intelligence. It's no life for you."</p> - -<p>"But, Mary," I said, kind of liking the idea of my Mary on the screen; -of being sole owner of her sweetness with millions of people knowing -nobody could kiss this girl but myself. "It's such a rare opportunity. -Every girl wants to be a movie star. Do it!"</p> - -<p>"Sure," cried Mr. Eammer. "Don't be a dope. How many girls get a chance -like this?"</p> - -<p>Mary whispered, her eyes shining, "Well, all right, dear, if you -insist."</p> - -<p>"You have a deal, Mr. Eammer," I said quickly.</p> - -<p>Mary typed the contract on my portable as dictated by Mr. Eammer.</p> - -<p>"Put in a clause," I said cautiously, remembering his ethics, "that the -contract is effective only when the million is deposited in my account."</p> - -<p>Mr. Eammer frowned. "Put in a clause for me, too," he said. "He -can't draw on the million without a signed receipt from me saying -he's delivered all his blueprints and technical notebooks on the -invention—and a full-size camera model, big enough to hold people."</p> - -<p>"I agree," I said. "I'll have it built and delivered immediately."</p> - -<p>I shook Mr. Eammer's clammy hand and he departed with Mary to get the -million dollars out of his secret safe-deposit boxes.</p> - -<hr class="tb" /> - -<p>I stared dreamily after them, mentally spending that money on all the -wonderful things I'd always wanted. A scintillometer. A centrifuge. -Maybe I could even build my own private cyclotron. And I could -visualize Mary cooking dinner in a little white cottage with a picket -fence.</p> - -<p>Within the week, I had delivered the full-size camera to Mr. Eammer's -studio. As he left me, whimpering with joy and carefully locking the -iron doors of the room he'd set aside for my equipment, I stared at the -signed receipt in my hand. A million dollars. I was rich.</p> - -<p>At this moment, Mary appeared at the studio gate and ran toward me, her -face deathly pale.</p> - -<p>"What's the matter?" I cried.</p> - -<p>"Remember how we couldn't find Susie all week?" she gasped. "Well, I -just found her."</p> - -<p>Mary held out her fist, opened her fingers and I recoiled in -astonishment. In her palm was Susie, my cat. But a Susie that was one -inch long ... the smallest, tiniest cat I'd ever seen. She was alive -and seemed healthy as she licked her white fur and uttered a meow I -barely could hear.</p> - -<p>My throat was so dry I could hardly get the words out. "Good Lord. -The invention. Something went wrong. It not only sends the <i>image</i> in -three dimensions without a screen to receive it; it also transmits -the <i>actual body itself</i> through space. <i>I've created a matter -transmitter.</i>"</p> - -<p>"But ... but why is Susie so small?" wailed Mary.</p> - -<p>"Apparently it transmits whatever size the image is set at. Remember -we had reduced the image of Susie and at that time you short-circuited -the wires? That short circuit is what did it. If Susie's image had been -large at that moment, we would have had an eight-foot-tall cat on our -hands...."</p> - -<p>I paused appalled, my eyes clinging to the incredible one-inch cat now -peering over the edge of Mary's hand at the ground below. It shrank -back fearfully.</p> - -<p>"My God," I whispered. I turned and, with Mary close behind me, made a -beeline for Mr. Eammer.</p> - -<hr class="tb" /> - -<p>We finally found him and got him alone. Mary opened her palm and, -without a word, showed him Susie. Mr. Eammer's eyes bulged and his -jowls turned ashen. Susie scratched her ear with her miniature rear -left foot and I idly wondered just how small Susie's fleas were.</p> - -<p>"I warned you," I said grimly, "that I didn't know how this thing -worked or the principles behind it. This is what's liable to happen -whenever there is a short circuit in the camera box. I don't know <i>why</i> -it happens, but it's too dangerous to use. If you want to call off our -deal...."</p> - -<p>"No, no, no," said Mr. Eammer rapidly. A cunning look came over his -face. "I'm sure you can work the bugs out of it, can't you? I'm sure -you're anxious to do more research on it?"</p> - -<p>"Indeed, I am," I said warmly. "You are a man with the true scientific -spirit."</p> - -<p>"Go right to work," he said urgently, his fascinated eyes never leaving -Susie. "Work night and day, day and night. I'll never leave your side. -We must learn how this gadget works."</p> - -<p>That's what we did. Making Susie comfortable in a matchbox, we set -to work in the dead of night when no inquisitive eyes might see our -strange experiments.</p> - -<p>Mary made us pots of steaming coffee and Mr. Eammer paced helpfully -back and forth uttering unclear mumbles, as I toiled the long, wearying -hours.</p> - -<p>It did not take long for me to gain an empirical understanding of what -I had, by which I mean that, like electricity in its early days, the -mysterious force could be utilized, made to perform, without complete -understanding of its basic nature.</p> - -<p>The night came when I had full control of the machine. We stood staring -at it in awe. We had made Susie her normal size again. We had enlarged -the image of an old shoe, recklessly aimed the projector out toward the -country and flicked the short circuit switch that sent it out in space -as solid matter.</p> - -<p>After three breathless days, we read the puzzled report in the -newspapers. A shoe eight feet long and three feet high had been found -in the backyard of a summer cottage. It was a three-day wonder, until -somebody advanced the theory that it was obviously a prop of some kind -of musical comedy movie.</p> - -<hr class="tb" /> - -<p>I looked at my machine with the sense of having created one of the -greatest wonders of science. My voice was trembling with pride as I -said to Mary and Mr. Eammer, "The things that can be done with this -invention. The incredible things...."</p> - -<p>"Yes," said Mr. Eammer, gloating. "And it's mine, all mine."</p> - -<p>"You'll be the biggest man in the movie industry," I said solemnly. -"You made a good investment."</p> - -<p>Mr. Eammer gave me a strange smile. "You are a great inventor, my boy, -but you have a small imagination. <i>Biggest</i> man in Hollywood, did you -say? The <i>only</i> man in Hollywood, you mean. Why, do you realize what I -can do with this machine? I can own Hollywood, Television, Broadway. -And I'll make a list of people I don't like that I'll get even with. -Why, I can be Master of the Entertainment World...."</p> - -<p>The blinding realization of what I had done flared in my numbed brain. -I had given a tremendous scientific weapon to a ruthless moron. And -there was nothing I could do, because he had my blueprints locked in -his safe....</p> - -<p>I stepped forward and with full force hit Mr. Eammer on the jaw.</p> - -<p>As he sagged, I grabbed him and shoved him into the transmitter. "Look -out," cried Mary. "He's getting up."</p> - -<p>"No," he said in a strangled voice as he struggled to his knees. "No. -I'll ... <i>I'll fix you</i>...."</p> - -<p>I turned the dials full power, hit the directional switch with my open -palm and closed my eyes.</p> - -<p>Mr. Eammer's voice cut off abruptly. When I opened my eyes, he was gone.</p> - -<p>"Thank heaven," gasped Mary in relief.</p> - -<hr class="tb" /> - -<p>I immediately made computations and my figures showed that Mr. Eammer -must have been transported to the Himalayas.</p> - -<p>That's the area where the Abominable Snowman had been sighted. That is -why I must speak now, regardless of any opinions about the state of -my sanity. I would not want Mr. Eammer shot by mistake, as he comes -rushing toward a party of explorers.</p> - -<p>It's all right to bring him back now. I've smashed the machine beyond -repair and, since Mary was Mr. Eammer's private secretary, she knew -where to get the combination of his safe, so we were able to destroy my -blueprints and technical notebooks.</p> - -<p>I've turned the million dollars over to Mr. Eammer's lawyers and -they are now fighting off the creditors, who all think Mr. Eammer is -deliberately hiding from them.</p> - -<p>Whatever you do, please don't take a shot at the Abominable Snowman.</p> - -<p>It is Mr. Eammer.</p> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Don't Shoot, by Robert Zacks - -*** END OF THIS PROJECT GUTENBERG EBOOK DON'T SHOOT *** - -***** This file should be named 51074-h.htm or 51074-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/0/7/51074/ - -Produced by Greg Weeks, Mary Meehan 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/license - -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 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -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 MERCHANTABILITY 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, are 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. - - -</pre> - -</body> -</html> diff --git a/old/51074-h/images/cover.jpg b/old/51074-h/images/cover.jpg Binary files differdeleted file mode 100644 index 6fb0ab5..0000000 --- a/old/51074-h/images/cover.jpg +++ /dev/null diff --git a/old/51074-h/images/illus.jpg b/old/51074-h/images/illus.jpg Binary files differdeleted file mode 100644 index afce96f..0000000 --- a/old/51074-h/images/illus.jpg +++ /dev/null diff --git a/old/51074.txt b/old/51074.txt deleted file mode 100644 index 50bac14..0000000 --- a/old/51074.txt +++ /dev/null @@ -1,1011 +0,0 @@ -The Project Gutenberg EBook of Don't Shoot, by Robert Zacks - -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/license - - -Title: Don't Shoot - -Author: Robert Zacks - -Release Date: January 29, 2016 [EBook #51074] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK DON'T SHOOT *** - - - - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - Don't Shoot - - By ROBERT ZACKS - - Illustrated by ASHMAN - - [Transcriber's Note: This etext was produced from - Galaxy Science Fiction April 1955. - Extensive research did not uncover any evidence that - the U.S. copyright on this publication was renewed.] - - - - - A man has to have a place to confess a horrible - sin ... and this is as good as any other! - - -I can no longer keep my terrible secret, although the thought of what -will happen to me, when I tell my story, gives me a trembling from -head to toe. Without doubt, word will flash to the proper authorities -and stern-faced men with sympathetic eyes will bring straitjacket and -sedatives, and hunt me down to tear me from Mary's clinging arms. A -padded cell will be made ready for another unfortunate. - -Nevertheless what we have just read in the newspapers has made us -fearfully agree that I must tell all, regardless of my own fate. So let -me say this: - -If it is true that an expedition is being organized in London to go -to the cold and rocky wastes of the Himalayas for the purpose of -investigating that astonishing primeval creature called 'The Abominable -Snowman,' then I am forced to tell you immediately ... _the Abominable -Snowman is none other than Mr. Eammer, the famous movie magnate_. - -And I am the one responsible for this amazing situation. I and my -invention which Mr. Eammer had hired me to develop, an invention which -would put 3-D and Cinemascope and the new Largoscope process so far -behind in the fierce Hollywood battle for supremacy that Mr. Eammer -would at last have complete control of the industry, and, for that -matter, television also. - -You will say this is impossible because one or two glimpses of the -Abominable Snowman have shown it to be an apelike creature? - -And the animal's body is covered with thick, coarse hair? - -Well, did you ever see Mr. Eammer lounging beside his elaborate Beverly -Hills swimming pool? He looks as if he's just climbed down from a -tree. The last young movie lovely an agent had brought around to talk -contracts took one look, screamed and fainted. It is said she was -hysterical for two days. - - * * * * * - -But let me tell how it all started. Remember those awful days when -television, like a monster with a wild pituitary gland, grew until it -took the word 'colossal' away from filmdom? What a battle! Like two -giant bears rearing up face to face, roaring, screaming, swapping -terrible blows of mighty paws, the two industries fought, with the -film industry reeling bloodily, at first, then rallying with 3-D, then -Cinemascope, and television pressing home the fierce attack with color -TV. - -And who was caught in the middle of all this, without _any_ protection? -Mr. Eammer. Why? Well, let me give you some background on that -character. When talkies killed the era of silent films, Mr. Eammer -nearly got shaken loose in the change. He'd scornfully dismissed the -new development. - -"Ha," he'd said. "People come to my movies for one of two things. To -fall asleep, or to look at the pretty girlies." - -When the movie industry began to look for good stories and material -that stimulated the mind as well as the emotion, Mr. Eammer had jeered. -"Ha. People are stupid, people are sheep. They don't want to think, -they just want to see the pretty girlies." - -Six months later, Mr. Eammer had sent emissaries to England to try to -hire this guy Billy Shakespeare. "Offer him anything," ordered Mr. -Eammer grimly. "Tell him we'll fill the water cooler in his office with -gin, he can pick any secretary he likes from among our starlets, -and ... and ..." he swallowed, then recklessly added, "we'll even give -him screen credit." - -Of course the men he'd sent out searching knew Billy Shakespeare had -kicked off, though they weren't sure whether it was last year or ten -years ago. But it was a fine trip on the expense account and after a -few weeks of riotous searching in London's gayer areas, they wired that -Shakespeare had caught a bad cold, the penicillin had run out and he'd -not lasted the night. - -But Mr. Eammer pulled out of his situation. He bought up just the right -to use the titles of great classic novels, ignored the contents, and -had entirely different stories written. - -"Not enough girlies in their versions," he explained, frowning. "Them -hack writers don't have stuff with real interest to it." - - * * * * * - -By the time the customers were in the packed movie houses, they were so -stunned with the spectacle of unclad femininity that they'd completely -forgotten what they'd come to see. Half of them had never read the -classics anyway. - -So the dough rolled in and Mr. Eammer's estate was photographed in -color and published in "Beautiful Homes" magazines, and high school -newspapers sent nervous young reporters to ask advice for graduates -yearning to get into the movie business. How, they asked humbly, could -they carve a place for themselves? - -Mr. Eammer beamed and said, "Girlies. Use plenty of girlies. It gets -them every time." - -The printed interview, as approved and edited by high school faculty -advisors, did not contain this advice. - -But the girlies weren't enough to save Mr. Eammer when television hit -the movies on its glass jaw. He didn't believe what was happening, -until it was too late. When his studio started hitting the skids, he -hastily withdrew funds and liquidated assets and rented a number of -safe-deposit boxes. Then he sat back and let his creditors scream a -symphony of threats. - -It was at that time that Mr. Eammer heard that I, a young physicist -interested in optics, had stumbled across an oddity which might -revolutionize the movie industry. He'd heard of this through Mary, -whom I love with all my heart, and who will sometimes embarrass me by -proudly telling people how intelligent I am. - -As Mr. Eammer's secretary, she let him know all about me, just as she -let me know all I have just told you about him. Mary is not a reticent -person; she is too loving of her fellow man to withhold even the -slightest information and perhaps I should have kept my astonishing -discovery to myself. - -In any case the phone rang in my very small laboratory one day and -Mary's excited voice said, "Joe, darling. It's me. I told him about -your invention. Come down right away." - -"Who?" I said. "Where? What are you talking about?" - -"To the studio," she said impatiently. "To see my boss, Mr. Eammer. He -says if your invention is...." - -"Now wait a minute," I shouted with indignation. "I told you not -to tell _anybody_ about it. It's not perfected. In fact, I don't -understand how it works exactly." - -"Stop being so modest," she said firmly. "I know you. You're a genius -and genius is never, never satisfied. I read all about it. You want us -to get married, don't you?" - -"Yes," I said, sudden longing surging through my heart. - -"Can we afford to? No. So come on down. Anyway, I already told him. -Don't make me into a ... a liar," begged Mary. "If he likes your -invention, maybe he'll buy it." - - * * * * * - -The things we do for the women we love. I went there in fear and -was trembling with good reason. Not knowing quite how my invention -operated, it could be stolen from me, because it might not be -patentable. It was more _discovery_ than _invention_. - -Oh, I can tell you, I went to see Mr. Eammer in a cold sweat of fear -that I might be losing my hold on the strange and accidental phenomena -across which I'd stumbled. - -I got quite a greeting. - -When I walked into his elaborate outer offices, the workers were -sitting hushed in fear before their desks. From within his private -offices I could hear bellowing and the sounds of things smashing. - -Mary hurried over to me, her warm, brown eyes pleading. Before she -could say anything, I heard Mr. Eammer say in a shout, right through -the partly opened door, "Well, what have you done about it?" - -A trembling voice said, "Sir, I've cut staff fifty per cent." - -"Stupid!" roared Mr. Eammer's voice. "Who's talking about that? Did -you ask Peterson of World Studios if he'll license us to use his new -Largoscope system?" - -"Y-yes." A moment of terrified silence. "He s-said your outfit could -use his Largoscope on only one occasion. When they f-film your funeral." - -There was a gasp, then the door opened and a perspiring, harried, -bald-headed man lurched out. With glazed eyes, he made a beeline for -the outer door. - -"Let's go in," said Mary eagerly "He'll be so glad to see you." - -I looked at her incredulously, but she took my arm and dragged me -inside. There Mr. Eammer sat twitching and shuddering, his head in his -pudgy hands. - -He looked dully at us from tiny eyes. "Everybody hates my genius," he -said, waggling his head from side to side. "Everybody envies me. The -wild dogs are gathering to pull down the noble elk." - -As he glared at us, Mary said swiftly, "Yes, sir." - -"The wounded lion," whispered Mr. Eammer dramatically, tears of -self-pity coming to his eyes. "Surrounded by jackals and laughing -hyenas. I am dying of my wounds." He uttered a wail. "Everybody's got -a new filming system but me." He drew a deep breath. "Who the hell are -you?" he demanded. - -"He's...." began Mary. - -"Wait a minute," he said. He grabbed a phone from the six on his desk. -"Hey. Publicity.... Hey, Mike. I want rumors spread about Largoscope. -Top doctors say it'll ruin the eyes, make you stone blind." He paused, -his face purpling. "Okay, if you can't do it, then get another job. -You're fired." - -He slammed the phone down. "No cooperation from anybody," he said -heavily. "Surrounded by incompetents." He glared at me. "Who the hell -are you?" - -"I'm ..." I began. - - * * * * * - -At this moment, the door opened and in came a man with a sheaf of -papers and a film of sweat on his forehead. "I hate to interrupt, Mr. -Eammer," he said doggedly, "but I got your note on the Lolita Vaughn -contract we drew up. I knew there must be some mistake, so...." - -"Mistake, what kind of mistake?" snapped Mr. Eammer. "I want you to -tear the contract up. I said we aren't going to sign after all. I got a -bigger name for the picture than her." - -The man winced. "Well," he said. "I ... I was just wondering. I mean, -after all, we talked her into turning down that fat part in the -new Broadway show that opened last night. It's a smash hit, I read -today...." - -"Tough," shouted Mr. Eammer. "My heart bleeds. Did I know when I made -that promise that I could get a big star at such a cheap price? I acted -hastily, I made a mistake, so I corrected that mistake." He looked -stern. "Would it be fair to the stockholders if I took Lolita under -these conditions?" - -"But _you_ own all the stock!" - -"That's what I said, you fool!" roared Mr. Eammer. "Get out of here." - -As the man fled, I stared at Mr. Eammer in horror and disgust. Never -would I trust a man like this, was my thought. - -He glared at me. "Who the hell are you?" he snarled. "I keep asking you -and you stand there like a dummy." - -"He's the scientist I told you about," said Mary. "He's a genius. He -has a new invention that will make Largoscope obsolete." - -"This?" said the producer with incredulity. "This beanpole is a -scientist? I don't believe it." He stared morosely at me, shaking his -head. "He looks like an elevator operator who can't figure out what -button to push." - -"I beg your pardon!" I said with indignation. "I am a graduate of -M.I.T. I graduated _summa cum laude_." - -"Anybody can pick up a few words of French," he sneered. "If you're -such a genius, how much money have you got, hah?" As I looked at him -numbly, my jaw hanging open, he tapped his chest with a sausagelike -forefinger. "Now _I_ am a genius, see? I'm the guy who hires _you_. -Now that we got that straight, what's this nonsense about you being -smart enough to figure out a new invention that will make Largoscope -obsolete?" - -The weary cynicism in his gross face enraged me. If ever I had an -immediate yearning to crush a man, to make him say 'uncle,' to have him -beg and yearn, it was at that moment and toward this insufferable moron. - - * * * * * - -Within half an hour, we had driven back to my small laboratory. He -peered suspiciously at the involved maze of wiring and electronic -equipment. I pointed to the small un-roofed cabinet on my long -work-table. It was two feet deep and the four walls, which were three -feet long, were studded with small tubes I'd rather not describe, since -I've developed them myself and they produce a new kind of ray. - -"That's my camera," I said. - -"It looks more like a diathermy machine or a sweatbox for reducing," he -said skeptically. "How's it operate?" - -I set a few dials and went to find Susie, my white cat. "Here pussy, -pussy," I said tenderly. - -"The man's gone nuts," said Mr. Eammer in disgust. - -"Take it easy," I snapped. "That's how I made my strange discovery. I -was doing a test on the effect of a new kind of radiation on fabrics. -And Susie, my cat, walked over the equipment. First she stepped on a -dial, turning it accidentally to full power, then she wandered into -the box." - -"So what?" - -"Watch and see," I said. - -I got Susie and she complacently allowed herself to be put into the -box. I placed Mary at the dials with instructions and took Mr. Eammer -to the next room and pointed to a huge circle chalked on the floor. The -movie magnate waited impatiently. - -"Mary," I shouted. "Okay. Turn dial number one to full force." - -We heard a click. - -Then Mr. Eammer yelped and cowered behind me. Because in front of us, -within the chalked circle, appeared a giant eight-foot-tall cat, an -enormous duplicate of Susie. Susie was licking her paw with a tongue -that was nearly two feet long. - -"Don't be afraid," I said proudly. "It's just an image. Look." I -stepped forward and ran my hand through the air where the giant figure -of Susie ignored me. My hand disappeared into the image, and I felt the -usual puzzling tingle, as if I were getting a shock. And Susie, from -the next room, uttered a faint meow and stopped licking her paw as if -she, too, felt something. - -"But ... but there's no _screen_," Eammer said. "And ... and it looks -_real_. It's got three dimensions like an actual body." He cautiously -approached, his hands shaking with excitement. He tip-toed around -behind the cat image. He choked, "It's like a real, living cat all -around." - -"You haven't seen anything yet," I said happily. "Watch this. Mary," I -yelled again. "Turn dial number two very slowly." - - * * * * * - -As we stared, the image of the three-dimensional Susie shrank from -eight feet all the way down to a three-dimensional miniature cat the -size of a thimble. - -Mr. Eammer looked as if he might faint. - -"Good-by, Largoscope," I said grimly. "This will make all 3-D and large -screen systems obsolete. It will revolutionize television, too. People -will sit home and see actual _figures_, three-dimensional figures of -real people. There will be no screens at all. The effects of depth and -solidity, as you see, are perfect...." - -Suddenly Susie in the next room gave a yelping meow and Mary gasped. We -jumped, then ran inside. Mary was wringing her hand. There was a little -smoke in the room. - -"My hand hit a wire," said Mary, embarrassed. "I guess I caused a short -circuit or something. I'm sorry. All this smoke." She put her hands to -her eyes, rubbing. - -"Susie all right?" I said. - -"I guess so," she said. "She moved so fast I could hardly see...." - -"My dear fellow." Mr. Eammer was most cordial. He put his arm around -my shoulders. He was beaming at me. He was offering me a fat cigar. -"What a wonderful invention. You are indeed a genius and I offer you my -humblest apologies." - -"I accept them," I said, pushing him away with distaste. "You may leave -now, Mr. Eammer." - -"Leave? Not until we've signed a contract, my friend. I want that -invention." - -"Mr. Eammer, that invention isn't perfected yet. I don't even know how -it works. The principles are beyond me. It is something new in the -world of physics and optics, and...." - -"That's all right," he cried. "I'll give you six months. A year. More. -But I want it...." - -"No. I'm afraid I don't trust you," I said. - -Far from being offended, he was delighted. He laughed as if I'd said -something witty. "Of course you don't," he said. "You don't trust me -and you don't like me. But just listen to my offer." - - * * * * * - -Right then and there Mr. Eammer made an offer that had my head -swimming. He would, first of all, deposit in an account in my name the -sum of one million dollars--free of taxes. Second, he would include -in the contract a stipulation that I'd get fifty per cent of all -royalties. Third--and _very_ important to me--in the event that the -patent he would apply for in my name was refused, or if it was broken -by further research, I could keep the million dollars. - -"And last," said Mr. Eammer, his nostrils flaring as he closed in for -the kill, "I'll make your girl friend, Mary, a big movie star." - -Mary's eyes widened. She clasped her hands before her, nervously. "Me?" -she whispered. "B-but I can't act." - -"What's that got to do with it?" Mr. Eammer asked impatiently. "You -just got to hold still when the male lead grabs you. Leave it all to -him, he knows what to do." - -"No," I cried, appalled. "I don't want anybody else kissing Mary." - -"Neither do I," said Mary, blushing. - -"You're absolutely right." Mr. Eammer uttered a deep sigh. "Such deep -love, such clean emotion, it cuts my heart out, honestly. Okay, we'll -give the script a scrubbing. Nobody'll put a finger on her." - -"I don't think I'm interested," said Mary regretfully. - -Mr. Eammer was staggered. He recovered immediately and said hastily, -"Smart girl. What intelligence. It's no life for you." - -"But, Mary," I said, kind of liking the idea of my Mary on the screen; -of being sole owner of her sweetness with millions of people knowing -nobody could kiss this girl but myself. "It's such a rare opportunity. -Every girl wants to be a movie star. Do it!" - -"Sure," cried Mr. Eammer. "Don't be a dope. How many girls get a chance -like this?" - -Mary whispered, her eyes shining, "Well, all right, dear, if you -insist." - -"You have a deal, Mr. Eammer," I said quickly. - -Mary typed the contract on my portable as dictated by Mr. Eammer. - -"Put in a clause," I said cautiously, remembering his ethics, "that the -contract is effective only when the million is deposited in my account." - -Mr. Eammer frowned. "Put in a clause for me, too," he said. "He -can't draw on the million without a signed receipt from me saying -he's delivered all his blueprints and technical notebooks on the -invention--and a full-size camera model, big enough to hold people." - -"I agree," I said. "I'll have it built and delivered immediately." - -I shook Mr. Eammer's clammy hand and he departed with Mary to get the -million dollars out of his secret safe-deposit boxes. - - * * * * * - -I stared dreamily after them, mentally spending that money on all the -wonderful things I'd always wanted. A scintillometer. A centrifuge. -Maybe I could even build my own private cyclotron. And I could -visualize Mary cooking dinner in a little white cottage with a picket -fence. - -Within the week, I had delivered the full-size camera to Mr. Eammer's -studio. As he left me, whimpering with joy and carefully locking the -iron doors of the room he'd set aside for my equipment, I stared at the -signed receipt in my hand. A million dollars. I was rich. - -At this moment, Mary appeared at the studio gate and ran toward me, her -face deathly pale. - -"What's the matter?" I cried. - -"Remember how we couldn't find Susie all week?" she gasped. "Well, I -just found her." - -Mary held out her fist, opened her fingers and I recoiled in -astonishment. In her palm was Susie, my cat. But a Susie that was one -inch long ... the smallest, tiniest cat I'd ever seen. She was alive -and seemed healthy as she licked her white fur and uttered a meow I -barely could hear. - -My throat was so dry I could hardly get the words out. "Good Lord. -The invention. Something went wrong. It not only sends the _image_ in -three dimensions without a screen to receive it; it also transmits -the _actual body itself_ through space. _I've created a matter -transmitter._" - -"But ... but why is Susie so small?" wailed Mary. - -"Apparently it transmits whatever size the image is set at. Remember -we had reduced the image of Susie and at that time you short-circuited -the wires? That short circuit is what did it. If Susie's image had been -large at that moment, we would have had an eight-foot-tall cat on our -hands...." - -I paused appalled, my eyes clinging to the incredible one-inch cat now -peering over the edge of Mary's hand at the ground below. It shrank -back fearfully. - -"My God," I whispered. I turned and, with Mary close behind me, made a -beeline for Mr. Eammer. - - * * * * * - -We finally found him and got him alone. Mary opened her palm and, -without a word, showed him Susie. Mr. Eammer's eyes bulged and his -jowls turned ashen. Susie scratched her ear with her miniature rear -left foot and I idly wondered just how small Susie's fleas were. - -"I warned you," I said grimly, "that I didn't know how this thing -worked or the principles behind it. This is what's liable to happen -whenever there is a short circuit in the camera box. I don't know _why_ -it happens, but it's too dangerous to use. If you want to call off our -deal...." - -"No, no, no," said Mr. Eammer rapidly. A cunning look came over his -face. "I'm sure you can work the bugs out of it, can't you? I'm sure -you're anxious to do more research on it?" - -"Indeed, I am," I said warmly. "You are a man with the true scientific -spirit." - -"Go right to work," he said urgently, his fascinated eyes never leaving -Susie. "Work night and day, day and night. I'll never leave your side. -We must learn how this gadget works." - -That's what we did. Making Susie comfortable in a matchbox, we set -to work in the dead of night when no inquisitive eyes might see our -strange experiments. - -Mary made us pots of steaming coffee and Mr. Eammer paced helpfully -back and forth uttering unclear mumbles, as I toiled the long, wearying -hours. - -It did not take long for me to gain an empirical understanding of what -I had, by which I mean that, like electricity in its early days, the -mysterious force could be utilized, made to perform, without complete -understanding of its basic nature. - -The night came when I had full control of the machine. We stood staring -at it in awe. We had made Susie her normal size again. We had enlarged -the image of an old shoe, recklessly aimed the projector out toward the -country and flicked the short circuit switch that sent it out in space -as solid matter. - -After three breathless days, we read the puzzled report in the -newspapers. A shoe eight feet long and three feet high had been found -in the backyard of a summer cottage. It was a three-day wonder, until -somebody advanced the theory that it was obviously a prop of some kind -of musical comedy movie. - - * * * * * - -I looked at my machine with the sense of having created one of the -greatest wonders of science. My voice was trembling with pride as I -said to Mary and Mr. Eammer, "The things that can be done with this -invention. The incredible things...." - -"Yes," said Mr. Eammer, gloating. "And it's mine, all mine." - -"You'll be the biggest man in the movie industry," I said solemnly. -"You made a good investment." - -Mr. Eammer gave me a strange smile. "You are a great inventor, my boy, -but you have a small imagination. _Biggest_ man in Hollywood, did you -say? The _only_ man in Hollywood, you mean. Why, do you realize what I -can do with this machine? I can own Hollywood, Television, Broadway. -And I'll make a list of people I don't like that I'll get even with. -Why, I can be Master of the Entertainment World...." - -The blinding realization of what I had done flared in my numbed brain. -I had given a tremendous scientific weapon to a ruthless moron. And -there was nothing I could do, because he had my blueprints locked in -his safe.... - -I stepped forward and with full force hit Mr. Eammer on the jaw. - -As he sagged, I grabbed him and shoved him into the transmitter. "Look -out," cried Mary. "He's getting up." - -"No," he said in a strangled voice as he struggled to his knees. "No. -I'll ... _I'll fix you_...." - -I turned the dials full power, hit the directional switch with my open -palm and closed my eyes. - -Mr. Eammer's voice cut off abruptly. When I opened my eyes, he was gone. - -"Thank heaven," gasped Mary in relief. - - * * * * * - -I immediately made computations and my figures showed that Mr. Eammer -must have been transported to the Himalayas. - -That's the area where the Abominable Snowman had been sighted. That is -why I must speak now, regardless of any opinions about the state of -my sanity. I would not want Mr. Eammer shot by mistake, as he comes -rushing toward a party of explorers. - -It's all right to bring him back now. I've smashed the machine beyond -repair and, since Mary was Mr. Eammer's private secretary, she knew -where to get the combination of his safe, so we were able to destroy my -blueprints and technical notebooks. - -I've turned the million dollars over to Mr. Eammer's lawyers and -they are now fighting off the creditors, who all think Mr. Eammer is -deliberately hiding from them. - -Whatever you do, please don't take a shot at the Abominable Snowman. - -It is Mr. Eammer. - - - - - -End of the Project Gutenberg EBook of Don't Shoot, by Robert Zacks - -*** END OF THIS PROJECT GUTENBERG EBOOK DON'T SHOOT *** - -***** This file should be named 51074.txt or 51074.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/0/7/51074/ - -Produced by Greg Weeks, Mary Meehan 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/license - -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 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -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 MERCHANTABILITY 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, are 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. diff --git a/old/51074.zip b/old/51074.zip Binary files differdeleted file mode 100644 index 03eafe9..0000000 --- a/old/51074.zip +++ /dev/null |
