diff options
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/51167-h.zip | bin | 438092 -> 0 bytes | |||
| -rw-r--r-- | old/51167-h/51167-h.htm | 1569 | ||||
| -rw-r--r-- | old/51167-h/images/cover.jpg | bin | 95400 -> 0 bytes | |||
| -rw-r--r-- | old/51167-h/images/illus1.jpg | bin | 106704 -> 0 bytes | |||
| -rw-r--r-- | old/51167-h/images/illus2.jpg | bin | 97949 -> 0 bytes | |||
| -rw-r--r-- | old/51167-h/images/illus3.jpg | bin | 112377 -> 0 bytes | |||
| -rw-r--r-- | old/51167.txt | 1435 | ||||
| -rw-r--r-- | old/51167.zip | bin | 24362 -> 0 bytes |
11 files changed, 17 insertions, 3004 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..5e6da83 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #51167 (https://www.gutenberg.org/ebooks/51167) diff --git a/old/51167-h.zip b/old/51167-h.zip Binary files differdeleted file mode 100644 index 387eb53..0000000 --- a/old/51167-h.zip +++ /dev/null diff --git a/old/51167-h/51167-h.htm b/old/51167-h/51167-h.htm deleted file mode 100644 index ac523c0..0000000 --- a/old/51167-h/51167-h.htm +++ /dev/null @@ -1,1569 +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 Butterfly 9, by Donald Keith. - </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 Butterfly 9, by Donald Keith - -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: Butterfly 9 - -Author: Donald Keith - -Release Date: February 10, 2016 [EBook #51167] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK BUTTERFLY 9 *** - - - - -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="378" height="500" alt=""/> -</div> - -<hr class="chap" /> - -<div class="titlepage"> - -<h1>Butterfly 9</h1> - -<p>By DONALD KEITH</p> - -<p>Illustrated by GAUGHAN</p> - -<p>[Transcriber's Note: This etext was produced from<br /> -Galaxy Science Fiction January 1957.<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>Jeff needed a job and this man had a job to<br /> -offer—one where giant economy-size trouble<br /> -had labels like fakemake, bumsy and peekage!</i></p> - -<hr class="chap" /> - -<p class="ph4">I</p> - -<p>At first, Jeff scarcely noticed the bold-looking man at the next table. -Nor did Ann. Their minds were busy with Jeff's troubles.</p> - -<p>"You're still the smartest color engineer in television," Ann told Jeff -as they dallied with their food. "You'll bounce back. Now eat your -supper."</p> - -<p>"This beanery is too noisy and hot," he grumbled. "I can't eat. Can't -talk. Can't think." He took a silver pillbox from his pocket and -fumbled for a black one. Those were vitamin pills; the big red and -yellow ones were sleeping capsules. He gulped the pill.</p> - -<p>Ann looked disapproving in a wifely way. "Lately you chew pills like -popcorn," she said. "Do you really need so many?"</p> - -<p>"I need something. I'm sure losing my grip."</p> - -<p>Ann stared at him. "Baby! How silly! Nothing happened, except you lost -your lease. You'll build up a better company in a new spot. We're young -yet."</p> - -<hr class="tb" /> - -<p>Jeff sighed and glanced around the crowded little restaurant. He wished -he could fly away somewhere. At that moment, he met the gaze of the -mustachioed man at the next table.</p> - -<p>The fellow seemed to be watching him and Ann. Something in his -confident gaze made Jeff uneasy. Had they met before?</p> - -<p>Ann whispered, "So you noticed him, too. Maybe he's following us. I -think I saw him on the parking lot where we left the car."</p> - -<p>Jeff shrugged his big shoulders. "If he's following us, he's nuts. -We've got no secrets and no money."</p> - -<p>"It must be my maddening beauty," said Ann.</p> - -<p>"I'll kick him cross-eyed if he starts anything," Jeff said. "I'm just -in the mood."</p> - -<p>Ann giggled. "Honey, what big veins you have! Forget him. Let's talk -about the engineering lab you're going to start. And let's eat."</p> - -<p>He groaned. "I lose my appetite every time I think about the building -being sold. It isn't worth the twelve grand. I wouldn't buy it for that -if I could. What burns me is that, five years ago, I could have bought -it for two thousand."</p> - -<p>"If only we could go back five years." She shrugged fatalistically. -"But since we can't—"</p> - -<p>The character at the next table leaned over and spoke to them, -grinning. "You like to get away? You wish to go back?"</p> - -<p>Jeff glanced across in annoyance. The man was evidently a salesman, -with extra gall.</p> - -<p>"Not now, thanks," Jeff said. "Haven't time."</p> - -<p>The man waved his thick hand at the clock, as if to abolish time. -"Time? That is nothing. Your little lady. She spoke of go back five -years. Maybe I help you."</p> - -<p>He spoke in an odd clipped way, obviously a foreigner. His shirt was -yellow. His suit had a silky sheen. Its peculiar tailoring emphasized -the bulges in his stubby, muscular torso.</p> - -<p>Ann smiled back at him. "You talk as if you could take us back to 1952. -Is that what you really mean?"</p> - -<p>"Why not? You think this silly. But I can show you."</p> - -<p>Jeff rose to go. "Mister, you better get to a doctor. Ann, it's time we -started home."</p> - -<hr class="tb" /> - -<p>Ann laid a hand on his sleeve. "I haven't finished eating. Let's -chat with the gent." She added in an undertone to Jeff, "Must be a -psycho—but sort of an inspired one."</p> - -<p>The man said to Ann, "You are kind lady, I think. Good to crazy people. -I join you."</p> - -<p>He did not wait for consent, but slid into a seat at their table with -an easy grace that was almost arrogant.</p> - -<p>"You are unhappy in 1957," he went on. "Discouraged. Restless. Why not -take trip to another time?"</p> - -<p>"Why not?" Ann said gaily. "How much does it cost?"</p> - -<p>"Free trial trip. Cost nothing. See whether you like. Then maybe we -talk money." He handed Jeff a card made of a stiff plastic substance.</p> - -<p>Jeff glanced at it, then handed it to Ann with a half-smile. It read:</p> - -<p class="ph4">4-D TRAVEL BEURO<br /> -Greet Snader, Traffic Ajent</p> - -<p>"Mr. Snader's bureau is different," Jeff said to his wife. "He even -spells it different."</p> - -<p>Snader chuckled. "I come from other time. We spell otherwise."</p> - -<p>"You mean you come from the future?"</p> - -<p>"Just different time. I show you. You come with me?"</p> - -<p>"Come where?" Jeff asked, studying Snader's mocking eyes. The man -didn't seem a mere eccentric. He had a peculiar suggestion of humor and -force.</p> - -<p>"Come on little trip to different time," invited Snader. He added -persuasively, "Could be back here in hour."</p> - -<p>"It would be painless, I suppose?" Jeff gave it a touch of derision.</p> - -<p>"Maybe not. That is risk you take. But look at me. I make trips every -day. I look damaged?"</p> - -<p>As a matter of fact, he did. His thick-fleshed face bore a scar and -his nose was broad and flat, as if it had been broken. But Jeff -politely agreed that he did not look damaged.</p> - -<p>Ann was enjoying this. "Tell me more, Mr. Snader. How does your time -travel work?"</p> - -<p>"Cannot explain. Same if you are asked how subway train works. Too -complicated." He flashed his white teeth. "You think time travel not -possible. Just like television not possible to your grandfather."</p> - -<p>Ann said, "Why invite us? We're not rich enough for expensive trips."</p> - -<p>"Invite many people," Snader said quickly. "Not expensive. You know -Missing Persons lists, from police? Dozens people disappear. They go -with me to other time. Many stay."</p> - -<p>"Oh, sure," Jeff said. "But how do you select the ones to invite?"</p> - -<p>"Find ones like you, Mr. Elliott. Ones who want change, escape."</p> - -<hr class="tb" /> - -<p>Jeff was slightly startled. How did this fellow know his name was -Elliott?</p> - -<p>Before he could ask, Ann popped another question. "Mr. Snader, you -heard us talking. You know we're in trouble because Jeff missed a good -chance five years ago. Do you claim people can really go back into the -past and correct mistakes they've made?"</p> - -<p>"They can go back. What they do when arrive? Depends on them."</p> - -<p>"Don't you wish it were true?" she sighed to Jeff.</p> - -<p>"You afraid to believe," said Snader, a glimmer of amusement in his -restless eyes. "Why not try? What you lose? Come on, look at station. -Very near here."</p> - -<p>Ann jumped up. "It might be fun, Jeff. Let's see what he means, if -anything."</p> - -<p>Jeff's pulse quickened. He too felt a sort of midsummer night's -madness—a yearning to forget his troubles. "Okay, just for kicks. But -we go in my car."</p> - -<p>Snader moved ahead to the cashier's stand. Jeff watched the weasel-like -grace of his short, broad body.</p> - -<p>"This is no ordinary oddball," Jeff told Ann. "He's tricky. He's got -some gimmick."</p> - -<p>"First I just played him along, to see how loony he was," Ann said. -"Now I wonder who's kidding whom." She concluded thoughtfully, "He's -kind of handsome, in a tough way."</p> - -<hr class="chap" /> - -<p class="ph4">II</p> - -<p>Snader's "station" proved to be a middle-sized, middle-cost home in a -good neighborhood. Lights glowed in the windows. Jeff could hear the -whisper of traffic on a boulevard a few blocks away. Through the warm -dusk, he could dimly see the mountains on the horizon. All was peaceful.</p> - -<p>Snader unlocked the front door with a key which he drew from a fine -metal chain around his neck. He swept open the front door with a -flourish and beamed at them, but Ann drew back.</p> - -<p>"'Walk into my parlor, said the spider to the fly,'" she murmured to -Jeff. "This could be a gambling hell. Or a dope den."</p> - -<p>"No matter what kind of clip joint, it can't clip us much," he said. -"There's only four bucks in my wallet. My guess is it's a 'temple' for -some daffy religious sect."</p> - -<p>They went in. A fat man smiled at them from a desk in the hall. Snader -said, "Meet Peter Powers. Local agent of our bureau."</p> - -<p>The man didn't get up, but nodded comfortably and waved them toward the -next room, after a glance at Snader's key.</p> - -<p>The key opened this room's door, too. Its spring lock snapped shut -after them.</p> - -<p>The room was like a doctor's waiting room, with easy chairs along the -walls. Its only peculiar aspects were a sign hanging from the middle -of the ceiling and two movie screens—or were they giant television -screens?—occupying a whole wall at either end of the room.</p> - -<p>The sign bore the number 701 in bright yellow on black. Beneath it, an -arrow pointed to the screen on the left with the word <i>Ante</i>, and to -the right with the word <i>Post</i>.</p> - -<hr class="chap" /> - -<div class="figcenter"> - <img src="images/illus1.jpg" width="389" height="500" alt=""/> -</div> - -<hr class="chap" /> - -<p>Jeff studied the big screens. On each, a picture was in motion. One -appeared to be moving through a long corridor, lined with seats like -a railroad club car. The picture seemed to rush at them from the left -wall. When he turned to the right, a similar endless chair-lined -corridor moved toward him from that direction.</p> - -<p>"Somebody worked hard on this layout," he said to Snader. "What's it -for?"</p> - -<p>"Time travel," said Snader. "You like?"</p> - -<p>"Almost as good as Disneyland. These movies represent the stream of -time, I suppose?"</p> - -<hr class="tb" /> - -<p>Instead of answering, Snader pointed to the screen. The picture showed -a group of people chatting in a fast-moving corridor. As it hurtled -toward them, Snader flipped his hand in a genial salute. Two people in -the picture waved back.</p> - -<p>Ann gasped. "It was just as if they saw us."</p> - -<p>"They did," Snader said. "No movie. Time travelers. In fourth -dimension. To you, they look like flat picture. To them, we look flat."</p> - -<p>"What's he supposed to be?" Jeff asked as the onrushing picture showed -them briefly a figure bound hand and foot, huddled in one of the -chairs. He stared at them piteously for an instant before the picture -surged past.</p> - -<p>Snader showed his teeth. "That was convict from my time. We have -criminals, like in your time. But we do not kill. We make them work. -Where he going? To end of line. To earliest year this time groove -reach. About 600 A.D., your calendar. Authorities pick up when -he get there. Put him to work."</p> - -<p>"What kind of work?" Jeff asked.</p> - -<p>"Building the groove further back."</p> - -<p>"Sounds like interesting work."</p> - -<p>Snader chortled and slapped him on the back. "Maybe you see it some -day, but forget that now. You come with me. Little trip."</p> - -<p>Jeff was perspiring. This was odder than he expected. Whatever the -fakery, it was clever. His curiosity as a technician made him want to -know about it. He asked Snader, "Where do you propose to go? And how?"</p> - -<p>Snader said, "Watch me. Then look at other wall."</p> - -<p>He moved gracefully to the screen on the left wall, stepped into it and -disappeared. It was as if he had slid into opaque water.</p> - -<p>Jeff and Ann blinked in mystification. Then they remembered his -instruction to watch the other screen. They turned. After a moment, in -the far distance down the long moving corridor, they could see a stocky -figure. The motion of the picture brought him nearer. In a few seconds, -he was recognizable as Snader—and as the picture brought him forward, -he stepped down out of it and was with them again.</p> - -<p>"Simple," Snader said. "I rode to next station. Then crossed over. Took -other carrier back here."</p> - -<p>"Brother, that's the best trick I've seen in years," Jeff said. "How -did you do it? Can I do it, too?"</p> - -<p>"I show you." Grinning like a wildcat, Snader linked his arms with Ann -and Jeff, and walked them toward the screen. "Now," he said. "Step in."</p> - -<hr class="tb" /> - -<p>Jeff submitted to Snader's pressure and stepped cautiously into the -screen. Amazingly, he felt no resistance at all, no sense of change or -motion. It was like stepping through a fog-bank into another room.</p> - -<p>In fact, that was what they seemed to have done. They were in the -chair-lined corridor. As Snader turned them around and seated them, -they faced another moving picture screen. It seemed to rush through a -dark tunnel toward a lighted square in the far distance.</p> - -<p>The square grew on the screen. Soon they saw it was another room like -the waiting room they had left, except that the number hanging from the -ceiling was 702. They seemed to glide through it. Then they were in the -dark tunnel again.</p> - -<p>Ann was clutching Jeff's arm. He patted her hand. "Fun, hey? Like Alice -through the looking-glass."</p> - -<p>"You really think we're going back in time?" she whispered.</p> - -<p>"Hardly! But we're seeing a million-dollar trick. I can't even begin to -figure it out yet."</p> - -<p>Another lighted room grew out of the tunnel on the screen, and when -they had flickered through it, another and then another.</p> - -<p>"Mr. Snader," Ann said unsteadily, "how long—how many years back are -you taking us?"</p> - -<p>Snader was humming to himself. "Six years. Station 725 fine place to -stop."</p> - -<p>For a little while, Jeff let himself think it might be true. "Six years -ago, your dad was alive," he mused to Ann. "If this should somehow be -real, we could see him again."</p> - -<p>"We could if we went to our house. He lived with us then, remember? -Would we see ourselves, six years younger? Or would—"</p> - -<p>Snader took Jeff's arm and pulled him to his feet. The screen was -moving through a room numbered 724.</p> - -<p>"Soon now," Snader grunted happily. "Then no more questions."</p> - -<p>He took an arm of each as he had before. When the screen was filled by -a room with the number 725, he propelled them forward into it.</p> - -<hr class="chap" /> - -<div class="figcenter"> - <img src="images/illus2.jpg" width="400" height="500" alt=""/> -</div> - -<hr class="chap" /> - -<p>Again there was no sense of motion. They had simply stepped through a -bright wall they could not feel. They found themselves in a replica of -the room they had left at 701. On the wall, a picture of the continuous -club-car corridor rolled toward them in a silent, endless stream.</p> - -<p>"The same room," Ann said in disappointment. "They just changed the -number. We haven't been anywhere."</p> - -<hr class="tb" /> - -<p>Snader was fishing under his shirt for the key. He gave Ann a glance -that was almost a leer. Then he carefully unlocked the door.</p> - -<p>In the hall, a motherly old lady bustled up, but Snader brushed past -her. "Official," he said, showing her the key. "No lodging."</p> - -<p>He unlocked the front door without another word and carefully shut it -behind them as Jeff and Ann followed him out of the house.</p> - -<p>"Hey, where's my car?" Jeff demanded, looking up and down the street.</p> - -<p>The whole street looked different. Where he had parked his roadster, -there was now a long black limousine.</p> - -<p>"Your car is in future," Snader said briskly. "Where it belong. Get -in." He opened the door of the limousine.</p> - -<p>Jeff felt a little flame of excitement licking inside him. Something -was happening, he felt. Something exciting and dangerous.</p> - -<p>"Snader," he said, "if you're kidnaping us, you made a mistake. Nobody -on Earth will pay ransom for us."</p> - -<p>Snader seemed amused. "You are foolish fellow. Silly talk about ransom. -You in different time now."</p> - -<p>"When does this gag stop?" Jeff demanded irritably. "You haven't fooled -us. We're still in 1957."</p> - -<p>"You are? Look around."</p> - -<p>Jeff looked at the street again. He secretly admitted to himself -that these were different trees and houses than he remembered. Even -the telephone poles and street lights seemed peculiar, vaguely -foreign-looking. It must be an elaborate practical joke. Snader had -probably ushered them into one house, then through a tunnel and out -another house.</p> - -<p>"Get in," Snader said curtly.</p> - -<p>Jeff decided to go along with the hoax or whatever it was. He could -see no serious risk. He helped Ann into the back seat and sat beside -her. Snader slammed the door and slid into the driver's seat. He -started the engine with a roar and they rocketed away from the curb, -narrowly missing another car.</p> - -<p>Jeff yelled, "Easy, man! Look where you're going!"</p> - -<p>Snader guffawed. "Tonight, you look where you are going."</p> - -<p>Ann clung to Jeff. "Did you notice the house we came out of?"</p> - -<p>"What about it?"</p> - -<p>"It looked as though they were afraid people might try to break in. -There were bars at the windows."</p> - -<p>"Lots of houses are built that way, honey. Let's see, where are we?" He -glanced at house numbers. "This is the 800 block. Remember that. And -the street—" He peered up at a sign as they whirled around a corner. -"The street is Green Thru-Way. I never heard of a street like that."</p> - -<hr class="chap" /> - -<p class="ph4">III</p> - -<p>They were headed back toward what should have been the boulevard. The -car zoomed through a cloverleaf turn and up onto a broad freeway. Jeff -knew for certain there was no freeway there in 1957—nor in any earlier -year. But on the horizon, he could see the familiar dark bulk of the -mountains. The whole line of moonlit ridges was the same as always.</p> - -<p>"Ann," he said slowly, "I think this is for real. Somehow I guess we -escaped from 1957. We've been transported in time."</p> - -<p>She squeezed his arm. "If I'm dreaming, don't wake me! I was scared a -minute ago. But now, oh, boy!"</p> - -<p>"Likewise. But I still wonder what Snader's angle is." He leaned -forward and tapped the driver on his meaty shoulder. "You brought us -into the future instead of the past, didn't you?"</p> - -<p>It was hard to know whether Snader was sleepy or just bored, but he -shrugged briefly to show there was no reply coming. Then he yawned.</p> - -<p>Jeff smiled tightly. "I guess we'll find out in good time. Let's sit -back and enjoy the strangest ride of our lives."</p> - -<p>As the limousine swept along through the traffic, there were plenty -of big signs for turn-offs, but none gave any hint where they were. -The names were unfamiliar. Even the language seemed grotesque. "Rite -Channel for Creepers," he read. "Yaw for Torrey Rushway" flared at him -from a fork in the freeway.</p> - -<p>"This can't be the future," Ann said. "This limousine is almost new, -but it doesn't even have an automatic gear shift—"</p> - -<p>She broke off as the car shot down a ramp off the freeway and pulled up -in front of an apartment house. Just beyond was a big shopping center, -ablaze with lights and swarming with shoppers. Jeff did not recognize -it, in spite of his familiarity with the city.</p> - -<p>Snader bounded out, pulled open the rear door and jerked his head in a -commanding gesture. But Jeff did not get out. He told Snader, "Let's -have some answers before we go any further."</p> - -<p>Snader gave him a hard grin. "You hear everything upstairs."</p> - -<p>The building appeared harmless enough. Jeff looked thoughtfully at Ann.</p> - -<p>She said, "It's just an apartment house. We've come this far. Might as -well go in and see what's there."</p> - -<p>Snader led them in, up to the sixth floor in an elevator and along a -corridor with heavy carpets and soft gold lights. He knocked on a door.</p> - -<hr class="tb" /> - -<p>A tall, silver-haired, important-looking man opened it and greeted them -heartily.</p> - -<p>"Solid man, Greet!" he exclaimed. "You're a real scratcher! And is this -our sharp?" He gave Jeff a friendly but appraising look.</p> - -<p>"Just what you order," Snader said proudly. "His name—Jeff Elliott. -Fine sharp. Best in his circuit. He brings his lifemate, too. Ann -Elliott."</p> - -<p>The old man rubbed his smooth hands together. "Prime! I wish joy," he -said to Ann and Jeff. "I'm Septo Kersey. Come in. Bullen's waiting."</p> - -<p>He led them into a spacious drawing room with great windows looking out -on the lights of the city. There was a leather chair in a corner, and -in it sat a heavy man with a grim mouth. He made no move, but grunted -a perfunctory "Wish joy" when Kersey introduced them. His cold eyes -studied Jeff while Kersey seated them in big chairs.</p> - -<p>Snader did not sit down, however. "No need for me now," he said, and -moved toward the door with a mocking wave at Ann.</p> - -<p>Bullen nodded. "You get the rest of your pay when Elliott proves out."</p> - -<p>"Here, wait a minute!" Jeff called. But Snader was gone.</p> - -<p>"Sit still," Bullen growled to Jeff. "You understand radioptics?"</p> - -<p>The blood went to Jeff's head. "My business is television, if that's -what you mean. What's this about?"</p> - -<p>"Tell him, Kersey," the big man said, and stared out the window.</p> - -<p>Kersey began, "You understand, I think, that you have come back in -time. About six years back."</p> - -<p>"That's a matter of opinion, but go on."</p> - -<p>"I am general manager of Continental Radioptic Combine, owned by Mr. -Dumont Bullen." He nodded toward the big man. "Chromatics have not -yet been developed here in connection with radioptics. They are well -understood in your time, are they not?"</p> - -<p>"What's chromatics? Color television?"</p> - -<p>"Exactly. You are an expert in—ah—colored television, I think."</p> - -<p>Jeff nodded. "So what?"</p> - -<p>The old man beamed at him. "You are here to work for our company. You -will enable us to be first with chromatics in this time wave."</p> - -<p>Jeff stood up. "Don't tell me who I'll work for."</p> - -<hr class="tb" /> - -<p>Bullen slapped a big fist on the arm of his chair. "No fog about this! -You're bought and paid for, Elliott! You'll get a fair labor contract, -but you do what I say!"</p> - -<p>"Why, the man thinks he owns you." Ann laughed shakily.</p> - -<p>"You'll find my barmen know their law," Bullen said. "This isn't the -way I like to recruit. But it was only way to get a man with your -knowledge."</p> - -<p>Kersey said politely, "You are here illegally, with no immigrate -permit or citizen file. Therefore you cannot get work. But Mr. Bullen -has taken an interest in your trouble. Through his influence, you can -make a living. We even set aside an apartment in this building for you -to live in. You are really very luxe, do you see?"</p> - -<p>Jeff's legs felt weak. These highbinders seemed brutally confident. He -wondered how he and Ann would find their way home through the strange -streets. But he put on a bold front.</p> - -<p>"I don't believe your line about time travel and I don't plan to work -for you," he said. "My wife and I are walking out right now. Try and -stop us, legally or any other way."</p> - -<p>Kersey's smooth old face turned hard. But, unexpectedly, Bullen -chuckled deep in his throat. "Good pop and bang. Like to see it. Go -on, walk out. You hang in trouble, call up here—Butterfly 9, ask for -Bullen. Whole exchange us. I'll meet you here about eleven tomorrow -pre-noon."</p> - -<p>"Don't hold your breath. Let's go, Ann."</p> - -<p>When they were on the sidewalk, Ann took a deep breath. "We made it. -For a minute, I thought there'd be a brawl. Why did they let us go?"</p> - -<p>"No telling. Maybe they're harmless lunatics—or practical jokers." He -looked over his shoulder as they walked down the street, but there was -no sign of pursuit. "It's a long time since supper."</p> - -<hr class="tb" /> - -<p>Her hand was cold in his and her face was white. To take her mind off -their problem, he ambled toward the lighted shop windows.</p> - -<p>"Look at that sign," he said, pointing to a poster over a display of -neckties. "'Sleek neck-sashes, only a Dick and a dollop!' How do they -expect to sell stuff with that crazy lingo?"</p> - -<p>"It's jive talk. They must cater to the high-school crowd." Ann -glanced nervously at the strolling people around them. "Jeff, where -are we? This isn't any part of the city I've ever seen. It doesn't -even look much like America." Her voice rose. "The way the women are -dressed—it's not old-fashioned, just different."</p> - -<p>"Baby, don't be scared. This is an adventure. Let's have fun." He -pressed her hand soothingly and pulled her toward a lunch counter.</p> - -<p>If the haberdasher's sign was jive, the restaurant spoke the same -jargon. The signs on the wall and the bill of fare were baffling. Jeff -pondered the list of beef shingles, scorchers, smack sticks and fruit -chills, until he noticed that a couple at the counter were eating what -clearly were hamburgers—though the "buns" looked more like tortillas.</p> - -<p>Jeff jerked his thumb at them and told the waitress, "Two, please."</p> - -<p>When the sandwiches arrived, they were ordinary enough. He and Ann ate -in silence. A feeling of foreboding hung over them.</p> - -<p>When they finished, the clerk gave him a check marked 1/20. Jeff looked -at it thoughtfully, shrugged and handed it to the cashier with two -dollar bills.</p> - -<p>The man at the desk glanced at them and laughed. "Stage money, eh?"</p> - -<p>"No, that's good money," Jeff assured him with a rather hollow smile. -"They're just new bills, that's all."</p> - -<p>The cashier picked one up and looked at it curiously. "I'm afraid it's -no good here," he said, and pushed it back.</p> - -<p>The bottom dropped out of Jeff's stomach. "What kind of money do you -want? This is all I have."</p> - -<p>The cashier's smile faded. He caught the eye of a man in uniform on one -of the stools. The uniform was dark green, but the man acted like a -policeman. He loomed up beside Jeff.</p> - -<p>"What's the rasper?" he demanded. Other customers, waiting to pay their -checks, eyed Jeff curiously.</p> - -<p>"I guess I'm in trouble," Jeff told him. "I'm a stranger here and I got -something to eat under the impression that my money was legal tender. -Do you know where I can exchange it?"</p> - -<hr class="tb" /> - -<p>The officer picked up the dollar bill and fingered it with evident -interest. He turned it over and studied the printing. "United States of -America," he read aloud. "What are those?"</p> - -<p>"It's the name of the country I come from," Jeff said carefully. -"I—uh—got on the wrong train, apparently, and must have come further -than I thought. What's the name of this place?"</p> - -<p>"This is Costa, West Goodland, in the Continental Federation. Say, you -must come from an umpty remote part of the world if you don't know -about this country." His eyes narrowed. "Where'd you learn to speak -Federal, if you come from so far?"</p> - -<p>Jeff said helplessly, "I can't explain, if you don't know about the -United States. Listen, can you take me to a bank, or some place where -they know about foreign exchange?"</p> - -<p>The policeman scowled. "How'd you get into this country, anyway? You -got immigrate clearance?"</p> - -<p>An angry muttering started among the bystanders.</p> - -<p>The policeman made up his mind. "You come with me."</p> - -<p>At the police station, Jeff put his elbows dejectedly on the high -counter while the policeman talked to an officer in charge. Some men -whom Jeff took for reporters got up from a table and eased over to -listen.</p> - -<p>"I don't know whether to charge them with fakemake, bumsy, peekage or -lunate," the policeman said as he finished.</p> - -<p>His superior gave Jeff a long puzzled stare.</p> - -<p>Jeff sighed. "I know it sounds impossible, but a man brought me in -something he claimed was a time traveler. You speak the same language I -do—more or less—but everything else is kind of unfamiliar. I belong -in the United States, a country in North America. I can't believe I'm -so far in the future that the United States has been forgotten."</p> - -<p>There ensued a long, confused, inconclusive interrogation.</p> - -<p>The man behind the desk asked questions which seemed stupid to Jeff and -got answers which probably seemed stupid to him.</p> - -<p>The reporters quizzed Jeff gleefully. "Come out, what are you -advertising?" they kept asking. "Who got you up to this?"</p> - -<p>The police puzzled over his driver's license and the other cards in his -wallet. They asked repeatedly about the lack of a "Work License," which -Jeff took to be some sort of union card. Evidently there was grave -doubt that he had any legal right to be in the country.</p> - -<p>In the end, Jeff and Ann were locked in separate cells for the night. -Jeff groaned and pounded the bars as he thought of his wife, imprisoned -and alone in a smelly jail. After hours of pacing the cell, he lay down -in the cot and reached automatically for his silver pillbox. Then he -hesitated.</p> - -<p>In past weeks, his insomnia had grown worse and worse, so that lately -he had begun taking stronger pills. After a longing glance at the -big red and yellow capsules, he put the box away. Whatever tomorrow -brought, it wouldn't find him slow and drowsy.</p> - -<hr class="chap" /> - -<p class="ph4">IV</p> - -<p>He passed a wakeful night. In the early morning, he looked up to see a -little man with a briefcase at his cell door.</p> - -<p>"Wish joy, Mr. Elliott," the man said coolly. "I am one of Mr. Bullen's -barmen. You know, represent at law? He sent me to arrange your release, -if you are ready to be reasonable."</p> - -<p>Jeff lay there and put his hands behind his head. "I doubt if I'm -ready. I'm comfortable here. By the way, how did you know where I was?"</p> - -<p>"No problem. When we read in this morning's newspapers about a man -claiming to be a time traveler, we knew."</p> - -<p>"All right. Now start explaining. Until I understand where I am, Bullen -isn't getting me out of here."</p> - -<p>The lawyer smiled and sat down. "Mr. Kersey told you yesterday—you've -gone back six years. But you'll need some mental gymnastics to -understand. Time is a dimension, not a stream of events like a movie -film. A film never changes. Space does—and time does. For example, if -a movie showed a burning house at Sixth and Main, would you expect to -find a house burning whenever you returned to that corner?"</p> - -<p>"You mean to say that if I went back to 1865, I wouldn't find the Civil -War was over and Lincoln had been assassinated?"</p> - -<p>"If you go back to the time you call 1865—which is most easily -done—you will find that the people there know nothing of a Lincoln or -that war."</p> - -<p>Jeff looked blank. "What are they doing then?"</p> - -<p>The little man spread his hands. "What are the people doing now at -Sixth and Main? Certainly not the same things they were doing the day -of the fire. We're talking about a dimension, not an event. Don't you -grasp the difference between the two?"</p> - -<p>"Nope. To me, 1865 means the end of the Civil War. How else can you -speak of a point in time except by the events that happened then?"</p> - -<p>"Well, if you go to a place in three-dimensional space—say, a lake -in the mountains—how do you identify that place? By looking for -landmarks. It doesn't matter that an eagle is soaring over a mountain -peak. That's only an event. The peak is the landmark. You follow me?"</p> - -<p>"So far. Keep talking."</p> - -<hr class="tb" /> - -<p>The little man looked pleased. "Very well. In the fourth -dimension—which is time—you do the same thing. You look around to see -what is visible where you are. My contemporaries can see that freedom -is unnecessary, that time travel is practical. Your people have not -reached that place in time yet. But yours can see the technical facts -about color television. Those facts are not visible yet to anyone here."</p> - -<p>"You mean that these inventions—"</p> - -<p>"Oh, no, no, no, Mr. Elliott," the little man said indignantly. "Don't -call them inventions. There are no inventions. None. There are only -truths—scientific principles waiting through eternity for someone to -discover them."</p> - -<p>"I must be dense, but—"</p> - -<p>"Did your Columbus invent America? Did someone invent fire? The -possibility of time travel, of color television, of any phase of social -progress—these are facts. They stand up in the time dimension like -mountains. Waves of humanity meander through the time dimension like -caravans of immigrants crossing a continent. The first man in any wave -to see the mountain peak claims that he 'invented' it. Soon it is -clearly visible to everyone. While the people of my wave know of time -travel, there are human caravans, following us many years back in time, -just now discovering steam."</p> - -<p>"Then the reason your people won't accept my money—"</p> - -<p>"Yah." The little lawyer nodded. "Your money is an outgrowth of your -history. It bears the name your people gave to the society they -built—the United States. This has no meaning to a different wave of -humanity, with a different history. These people here have reached this -point in time six years behind the humanity you traveled with."</p> - -<p>"Can I get back to my own time, my own wave of humanity?"</p> - -<p>"Not unless you know how." The lawyer grinned. "To be perfectly frank, -Mr. Elliott, there is no hope of your going back. Either work for -Bullen or live out your life in a mental institution. No one else will -give you work and no one will believe your story."</p> - -<p>Jeff clamped his teeth. If a crook like Snader could move freely back -and forth in time, there must be a way for Jeff to do it. Meanwhile, he -would pretend to be a humble and obedient servant.</p> - -<p>"Okay," he said to the lawyer. "I'm convinced. Get me out."</p> - -<p>"Snader is waiting with a car," the man said. "He'll meet you and your -wife outside. I'll free her at once, then go about my business."</p> - -<hr class="tb" /> - -<p>Snader was standing beside the limousine. He looked Ann up and down. "I -like you, little lady. Soon I know you better."</p> - -<p>Jeff felt his temper rise. "You sure fooled us, didn't you, Snader?"</p> - -<p>"I warned you. There was risk."</p> - -<p>Ann's voice was steady. "Jeff, where are we going now?"</p> - -<p>"Back to Bullen. I understand the setup now. Maybe we'd better play -ball with him."</p> - -<p>"Did you find out what place this is?"</p> - -<p>"Yes—well, sort of. Here's a rough rundown. Incredible as it seems, -we really are in a past time period—different from our own past. This -period doesn't have color TV yet. Bullen wants to be first on the -market with it. So he sent our pal Greet Snader here to pick a man in -future time who had already mastered TV and sell him to Bullen as a -captive scientist. I imagine Snader raids the future for many experts."</p> - -<p>Snader stepped up to him with a dangerous smile. "All right, big wit. -Tell me my business. Tell me all about it."</p> - -<p>"You heard me. You're in the slave business." The blood throbbed in -Jeff's head.</p> - -<p>"You don't like?" Snader's scarred face looked fierce and gloating. -"Maybe you shovel coal from now. Or wipe floors."</p> - -<p>Jeff saw policemen watching from the jail entrance. He clamped his -mouth shut.</p> - -<p>"Don't be excitable or you get hurt," Snader advised. "We own you. We -gave you a break. Remember that, wise boy. You ready now?"</p> - -<p>Jeff nodded silently.</p> - -<p>Snader playfully twisted Jeff's ear and shoved him into the limousine. -"Don't tell me anything. Then I don't hurt you."</p> - -<hr class="chap" /> - -<p class="ph4">V</p> - -<p>Between Snader and Ann in the front seat, Jeff held Ann's hand and -winked encouragingly at her.</p> - -<p>"Snader, I guess you're right," he said. "This is a good deal for me. -I was sort of washed up in my own time."</p> - -<p>"Now you smart," Snader said. "Your little lady? She smart, too?"</p> - -<p>"Yep. By the way, how come you got us out so early? It's only nine -o'clock. Bullen said he'd expect me at eleven."</p> - -<p>"We go to time station first," Snader explained shortly. "I pick up -documents there. Breakfast there."</p> - -<p>"Good," Jeff said cheerfully. A plan was taking shape in his mind. "All -I'm worried about is my speed-up pills. Can I get some at the station? -I'm almost out." He pressed Ann's knee warningly.</p> - -<p>"Speed-up pills?" Snader looked suspicious—but then, he always did. -"What you mean?"</p> - -<p>"Don't you have speed-up tablets?" Jeff put surprise in his voice. -"Stuff to activate the half of the brain that normally doesn't work. -You <i>must</i> have them."</p> - -<p>"What they look like?"</p> - -<p>Jeff fumbled for his silver pillbox. "They're the big red and yellow -capsules." He handed the box to Snader. "Don't spill them. I only have -three left. Where can I get more like those? I won't be nearly as good -without them."</p> - -<p>Keeping one hand on the wheel, Snader glanced down. The box had a -jumble of black vitamin pills and red and yellow sleeping tablets.</p> - -<p>"You say these big ones help brain?" he asked warily.</p> - -<p>"They speed up the reflexes—they make everything seem clear and easy. -Please give them back before you spill them."</p> - -<p>Snader thumbed the red and yellow capsules out and handed the box back -without them. "I keep these." He moved his head craftily to watch -Jeff's face in the mirror.</p> - -<p>Jeff was ready. He registered rage and fear. "Gimme those!" he shouted. -"I need them."</p> - -<p>Snader laughed. "Don't tell me orders. Easy now. You want to wreck car?"</p> - -<p>"I'll wreck us all if you don't give those back!" He grabbed Snader's -hand.</p> - -<p>Ann screamed as the car swerved, and horns blared from behind. Snader -clapped the capsules into his mouth and gripped the wheel with both -hands.</p> - -<p>"I take what I want," he said, gulping down the pills. "You give -trouble, I turn you over to police."</p> - -<hr class="tb" /> - -<p>Jeff slumped down with a groan and buried his face in his hands to hide -a grin. It had worked. How long would the nembutal take to hit Snader? -It might act too fast. Jeff wondered what he could do then.</p> - -<p>Luckily, there was only a short distance to go. Even so, the car was -weaving as they whirled off the express road into Green Thru-Way. When -they pulled up in front of the barred house, Snader tumbled out and -lurched up the walk without a glance at his prisoners.</p> - -<p>Jeff and Ann followed, and Jeff stood close behind while Snader fumbled -inside his shirt for the key. When he found it and reached toward the -door, his knees buckled and Jeff caught him.</p> - -<p>"The key, Ann," Jeff whispered. "Pull the cord over his head and unlock -the door."</p> - -<p>Ann clawed at it while Jeff supported the weight of Snader's body. In a -moment, she had the door open and they were inside.</p> - -<p>The old housekeeper bustled in as Jeff half-dragged and half-lifted -Snader across the living room.</p> - -<p>"It's nothing serious," Jeff told her calmly. "He often has these -attacks. He'll be all right in a few minutes, and then I'll start him -off home."</p> - -<p>"Oh, the poor man," she clucked. "Such a ghast. Can I get you anything?"</p> - -<p>"Get us some hot water, mixed with mustard and soda," Jeff said, hoping -this would keep her busy for several minutes. She hurried away.</p> - -<p>Ann unlocked the door into the inner room and Jeff lugged the slave -trader inside. On the two screens, the endless chair-lined corridors -still fled toward them.</p> - -<p>When the door clicked shut, Jeff let Snader slide to the floor. Swiftly -he went through the man's pockets and felt in the lining of his clothes -for hidden documents. Papers, wallet, car-keys, a big stiff card that -seemed to be some kind of passport—Jeff stuffed everything into his -own pockets.</p> - -<p>"Hurry, Jeff," Ann begged. "Why waste time emptying his pockets?"</p> - -<p>"So he can't come back and bother us," Jeff said. "I'm sending -this joker on a one-way ride. He'll never be able to prove to the -authorities who he is."</p> - -<hr class="tb" /> - -<p>Several pictures hung on the wall. Jeff jerked them down and used the -wire to tie Snader's feet and wrists. He tore some draperies to bind -him tighter. When the body was trussed like a turkey, Jeff heaved it -to his shoulder. With one lunge, he threw the unconscious man straight -into the screen. Snader vanished.</p> - -<hr class="chap" /> - -<div class="figcenter"> - <img src="images/illus3.jpg" width="600" height="342" alt=""/> -</div> - -<hr class="chap" /> - -<p>"What happens when he wakes up?" Ann shakily wanted to know.</p> - -<p>Jeff dusted himself off. "He's headed to the end of the line," he said -harshly. "Remember? He told us about it. Without credentials, he'll -land in the convict gang, down around the year 600 A.D. That's -a bad time on this continent. Men who work there don't return—they -help build back the time groove."</p> - -<p>Ann smiled triumphantly. "Good for you! He deserved it. Imagine running -a commercial kidnaping enterprise! And now we can ride home, can't we?"</p> - -<p>Jeff, beginning to enjoy himself, shook his head. "Not just yet. First -I've got a date with Mr. Bullen."</p> - -<p>When they rapped on Bullen's door, Kersey welcomed them with an amused -smile.</p> - -<p>"We thought you would be back," he purred. "Where is Snader?"</p> - -<p>Jeff brushed past him to the drawing room, where Bullen sat by the -window.</p> - -<p>"I've decided to help you, Bullen," Jeff said.</p> - -<p>Bullen nodded his big head. "Naturally."</p> - -<p>"But I name my own price. What do you pay Kersey?"</p> - -<p>Bullen looked up with a grim smile. "Fifty thousand a year. I wonder -now if he worths it."</p> - -<p>"What's that? Dollars?"</p> - -<p>"We call them fiscals. Probably somehow much the same. Why?"</p> - -<p>"Listen, Bullen. If I help introduce color TV, there'll be big money -in it. I won't be a hog. You pay me forty thousand a year until we go -into production. Then we'll make a new deal, giving me a royalty on -sales."</p> - -<p>Kersey's face was scarlet. "You young greenshoot! Who do you think you -are? You'll work for nothing, if we say so."</p> - -<p>"Guess again," Jeff said. "Your slave trader won't be bringing any more -engineers for you. So you take me at my price—or nobody."</p> - -<p>The big man laughed. "You got rid of Snader, eh? Well, well. He was a -rogue. I thought he would run into trouble soon or late."</p> - -<hr class="tb" /> - -<p>Kersey swore, but Bullen seemed to grasp the situation and waved him -to silence. "I like your fire, young man. With chromatics, we'll make -millions, so you're worth forty thousand plus royalties. Am I true in -thinking you won't want the apartment I reserved for you?"</p> - -<p>"Right. We'll retain our home in my own time. I'll commute to work here -every morning—it's quicker than commuting to the city in my own time."</p> - -<p>"In your thorough way," Kersey said sarcastically, "you have doubtless -figured out how you can spend our money back in your time."</p> - -<p>"I've thought about it," Jeff agreed. "There will be something I can -convert it into and carry back. Diamonds, maybe."</p> - -<p>Bullen laughed again. "You're solid, my boy. Get his work papers ready, -Kersey. These young people want to get home. I'll take Jeff to the -factory when he comes workward in the morning."</p> - -<p>Jeff stood up. "See you tomorrow, Bullen. Come on, Ann. We're going -home—home to our own time."</p> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Butterfly 9, by Donald Keith - -*** END OF THIS PROJECT GUTENBERG EBOOK BUTTERFLY 9 *** - -***** This file should be named 51167-h.htm or 51167-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/1/6/51167/ - -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/51167-h/images/cover.jpg b/old/51167-h/images/cover.jpg Binary files differdeleted file mode 100644 index 6e78798..0000000 --- a/old/51167-h/images/cover.jpg +++ /dev/null diff --git a/old/51167-h/images/illus1.jpg b/old/51167-h/images/illus1.jpg Binary files differdeleted file mode 100644 index 0f63205..0000000 --- a/old/51167-h/images/illus1.jpg +++ /dev/null diff --git a/old/51167-h/images/illus2.jpg b/old/51167-h/images/illus2.jpg Binary files differdeleted file mode 100644 index 731cdb4..0000000 --- a/old/51167-h/images/illus2.jpg +++ /dev/null diff --git a/old/51167-h/images/illus3.jpg b/old/51167-h/images/illus3.jpg Binary files differdeleted file mode 100644 index 34c7965..0000000 --- a/old/51167-h/images/illus3.jpg +++ /dev/null diff --git a/old/51167.txt b/old/51167.txt deleted file mode 100644 index c9751d0..0000000 --- a/old/51167.txt +++ /dev/null @@ -1,1435 +0,0 @@ -The Project Gutenberg EBook of Butterfly 9, by Donald Keith - -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: Butterfly 9 - -Author: Donald Keith - -Release Date: February 10, 2016 [EBook #51167] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK BUTTERFLY 9 *** - - - - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - Butterfly 9 - - By DONALD KEITH - - Illustrated by GAUGHAN - - [Transcriber's Note: This etext was produced from - Galaxy Science Fiction January 1957. - Extensive research did not uncover any evidence that - the U.S. copyright on this publication was renewed.] - - - - - Jeff needed a job and this man had a job to - offer--one where giant economy-size trouble - had labels like fakemake, bumsy and peekage! - - -I - -At first, Jeff scarcely noticed the bold-looking man at the next table. -Nor did Ann. Their minds were busy with Jeff's troubles. - -"You're still the smartest color engineer in television," Ann told Jeff -as they dallied with their food. "You'll bounce back. Now eat your -supper." - -"This beanery is too noisy and hot," he grumbled. "I can't eat. Can't -talk. Can't think." He took a silver pillbox from his pocket and -fumbled for a black one. Those were vitamin pills; the big red and -yellow ones were sleeping capsules. He gulped the pill. - -Ann looked disapproving in a wifely way. "Lately you chew pills like -popcorn," she said. "Do you really need so many?" - -"I need something. I'm sure losing my grip." - -Ann stared at him. "Baby! How silly! Nothing happened, except you lost -your lease. You'll build up a better company in a new spot. We're young -yet." - - * * * * * - -Jeff sighed and glanced around the crowded little restaurant. He wished -he could fly away somewhere. At that moment, he met the gaze of the -mustachioed man at the next table. - -The fellow seemed to be watching him and Ann. Something in his -confident gaze made Jeff uneasy. Had they met before? - -Ann whispered, "So you noticed him, too. Maybe he's following us. I -think I saw him on the parking lot where we left the car." - -Jeff shrugged his big shoulders. "If he's following us, he's nuts. -We've got no secrets and no money." - -"It must be my maddening beauty," said Ann. - -"I'll kick him cross-eyed if he starts anything," Jeff said. "I'm just -in the mood." - -Ann giggled. "Honey, what big veins you have! Forget him. Let's talk -about the engineering lab you're going to start. And let's eat." - -He groaned. "I lose my appetite every time I think about the building -being sold. It isn't worth the twelve grand. I wouldn't buy it for that -if I could. What burns me is that, five years ago, I could have bought -it for two thousand." - -"If only we could go back five years." She shrugged fatalistically. -"But since we can't--" - -The character at the next table leaned over and spoke to them, -grinning. "You like to get away? You wish to go back?" - -Jeff glanced across in annoyance. The man was evidently a salesman, -with extra gall. - -"Not now, thanks," Jeff said. "Haven't time." - -The man waved his thick hand at the clock, as if to abolish time. -"Time? That is nothing. Your little lady. She spoke of go back five -years. Maybe I help you." - -He spoke in an odd clipped way, obviously a foreigner. His shirt was -yellow. His suit had a silky sheen. Its peculiar tailoring emphasized -the bulges in his stubby, muscular torso. - -Ann smiled back at him. "You talk as if you could take us back to 1952. -Is that what you really mean?" - -"Why not? You think this silly. But I can show you." - -Jeff rose to go. "Mister, you better get to a doctor. Ann, it's time we -started home." - - * * * * * - -Ann laid a hand on his sleeve. "I haven't finished eating. Let's -chat with the gent." She added in an undertone to Jeff, "Must be a -psycho--but sort of an inspired one." - -The man said to Ann, "You are kind lady, I think. Good to crazy people. -I join you." - -He did not wait for consent, but slid into a seat at their table with -an easy grace that was almost arrogant. - -"You are unhappy in 1957," he went on. "Discouraged. Restless. Why not -take trip to another time?" - -"Why not?" Ann said gaily. "How much does it cost?" - -"Free trial trip. Cost nothing. See whether you like. Then maybe we -talk money." He handed Jeff a card made of a stiff plastic substance. - -Jeff glanced at it, then handed it to Ann with a half-smile. It read: - - 4-D TRAVEL BEURO - Greet Snader, Traffic Ajent - -"Mr. Snader's bureau is different," Jeff said to his wife. "He even -spells it different." - -Snader chuckled. "I come from other time. We spell otherwise." - -"You mean you come from the future?" - -"Just different time. I show you. You come with me?" - -"Come where?" Jeff asked, studying Snader's mocking eyes. The man -didn't seem a mere eccentric. He had a peculiar suggestion of humor and -force. - -"Come on little trip to different time," invited Snader. He added -persuasively, "Could be back here in hour." - -"It would be painless, I suppose?" Jeff gave it a touch of derision. - -"Maybe not. That is risk you take. But look at me. I make trips every -day. I look damaged?" - -As a matter of fact, he did. His thick-fleshed face bore a scar and -his nose was broad and flat, as if it had been broken. But Jeff -politely agreed that he did not look damaged. - -Ann was enjoying this. "Tell me more, Mr. Snader. How does your time -travel work?" - -"Cannot explain. Same if you are asked how subway train works. Too -complicated." He flashed his white teeth. "You think time travel not -possible. Just like television not possible to your grandfather." - -Ann said, "Why invite us? We're not rich enough for expensive trips." - -"Invite many people," Snader said quickly. "Not expensive. You know -Missing Persons lists, from police? Dozens people disappear. They go -with me to other time. Many stay." - -"Oh, sure," Jeff said. "But how do you select the ones to invite?" - -"Find ones like you, Mr. Elliott. Ones who want change, escape." - - * * * * * - -Jeff was slightly startled. How did this fellow know his name was -Elliott? - -Before he could ask, Ann popped another question. "Mr. Snader, you -heard us talking. You know we're in trouble because Jeff missed a good -chance five years ago. Do you claim people can really go back into the -past and correct mistakes they've made?" - -"They can go back. What they do when arrive? Depends on them." - -"Don't you wish it were true?" she sighed to Jeff. - -"You afraid to believe," said Snader, a glimmer of amusement in his -restless eyes. "Why not try? What you lose? Come on, look at station. -Very near here." - -Ann jumped up. "It might be fun, Jeff. Let's see what he means, if -anything." - -Jeff's pulse quickened. He too felt a sort of midsummer night's -madness--a yearning to forget his troubles. "Okay, just for kicks. But -we go in my car." - -Snader moved ahead to the cashier's stand. Jeff watched the weasel-like -grace of his short, broad body. - -"This is no ordinary oddball," Jeff told Ann. "He's tricky. He's got -some gimmick." - -"First I just played him along, to see how loony he was," Ann said. -"Now I wonder who's kidding whom." She concluded thoughtfully, "He's -kind of handsome, in a tough way." - - -II - -Snader's "station" proved to be a middle-sized, middle-cost home in a -good neighborhood. Lights glowed in the windows. Jeff could hear the -whisper of traffic on a boulevard a few blocks away. Through the warm -dusk, he could dimly see the mountains on the horizon. All was peaceful. - -Snader unlocked the front door with a key which he drew from a fine -metal chain around his neck. He swept open the front door with a -flourish and beamed at them, but Ann drew back. - -"'Walk into my parlor, said the spider to the fly,'" she murmured to -Jeff. "This could be a gambling hell. Or a dope den." - -"No matter what kind of clip joint, it can't clip us much," he said. -"There's only four bucks in my wallet. My guess is it's a 'temple' for -some daffy religious sect." - -They went in. A fat man smiled at them from a desk in the hall. Snader -said, "Meet Peter Powers. Local agent of our bureau." - -The man didn't get up, but nodded comfortably and waved them toward the -next room, after a glance at Snader's key. - -The key opened this room's door, too. Its spring lock snapped shut -after them. - -The room was like a doctor's waiting room, with easy chairs along the -walls. Its only peculiar aspects were a sign hanging from the middle -of the ceiling and two movie screens--or were they giant television -screens?--occupying a whole wall at either end of the room. - -The sign bore the number 701 in bright yellow on black. Beneath it, an -arrow pointed to the screen on the left with the word _Ante_, and to -the right with the word _Post_. - -Jeff studied the big screens. On each, a picture was in motion. One -appeared to be moving through a long corridor, lined with seats like -a railroad club car. The picture seemed to rush at them from the left -wall. When he turned to the right, a similar endless chair-lined -corridor moved toward him from that direction. - -"Somebody worked hard on this layout," he said to Snader. "What's it -for?" - -"Time travel," said Snader. "You like?" - -"Almost as good as Disneyland. These movies represent the stream of -time, I suppose?" - - * * * * * - -Instead of answering, Snader pointed to the screen. The picture showed -a group of people chatting in a fast-moving corridor. As it hurtled -toward them, Snader flipped his hand in a genial salute. Two people in -the picture waved back. - -Ann gasped. "It was just as if they saw us." - -"They did," Snader said. "No movie. Time travelers. In fourth -dimension. To you, they look like flat picture. To them, we look flat." - -"What's he supposed to be?" Jeff asked as the onrushing picture showed -them briefly a figure bound hand and foot, huddled in one of the -chairs. He stared at them piteously for an instant before the picture -surged past. - -Snader showed his teeth. "That was convict from my time. We have -criminals, like in your time. But we do not kill. We make them work. -Where he going? To end of line. To earliest year this time groove -reach. About 600 A.D., your calendar. Authorities pick up when -he get there. Put him to work." - -"What kind of work?" Jeff asked. - -"Building the groove further back." - -"Sounds like interesting work." - -Snader chortled and slapped him on the back. "Maybe you see it some -day, but forget that now. You come with me. Little trip." - -Jeff was perspiring. This was odder than he expected. Whatever the -fakery, it was clever. His curiosity as a technician made him want to -know about it. He asked Snader, "Where do you propose to go? And how?" - -Snader said, "Watch me. Then look at other wall." - -He moved gracefully to the screen on the left wall, stepped into it and -disappeared. It was as if he had slid into opaque water. - -Jeff and Ann blinked in mystification. Then they remembered his -instruction to watch the other screen. They turned. After a moment, in -the far distance down the long moving corridor, they could see a stocky -figure. The motion of the picture brought him nearer. In a few seconds, -he was recognizable as Snader--and as the picture brought him forward, -he stepped down out of it and was with them again. - -"Simple," Snader said. "I rode to next station. Then crossed over. Took -other carrier back here." - -"Brother, that's the best trick I've seen in years," Jeff said. "How -did you do it? Can I do it, too?" - -"I show you." Grinning like a wildcat, Snader linked his arms with Ann -and Jeff, and walked them toward the screen. "Now," he said. "Step in." - - * * * * * - -Jeff submitted to Snader's pressure and stepped cautiously into the -screen. Amazingly, he felt no resistance at all, no sense of change or -motion. It was like stepping through a fog-bank into another room. - -In fact, that was what they seemed to have done. They were in the -chair-lined corridor. As Snader turned them around and seated them, -they faced another moving picture screen. It seemed to rush through a -dark tunnel toward a lighted square in the far distance. - -The square grew on the screen. Soon they saw it was another room like -the waiting room they had left, except that the number hanging from the -ceiling was 702. They seemed to glide through it. Then they were in the -dark tunnel again. - -Ann was clutching Jeff's arm. He patted her hand. "Fun, hey? Like Alice -through the looking-glass." - -"You really think we're going back in time?" she whispered. - -"Hardly! But we're seeing a million-dollar trick. I can't even begin to -figure it out yet." - -Another lighted room grew out of the tunnel on the screen, and when -they had flickered through it, another and then another. - -"Mr. Snader," Ann said unsteadily, "how long--how many years back are -you taking us?" - -Snader was humming to himself. "Six years. Station 725 fine place to -stop." - -For a little while, Jeff let himself think it might be true. "Six years -ago, your dad was alive," he mused to Ann. "If this should somehow be -real, we could see him again." - -"We could if we went to our house. He lived with us then, remember? -Would we see ourselves, six years younger? Or would--" - -Snader took Jeff's arm and pulled him to his feet. The screen was -moving through a room numbered 724. - -"Soon now," Snader grunted happily. "Then no more questions." - -He took an arm of each as he had before. When the screen was filled by -a room with the number 725, he propelled them forward into it. - -Again there was no sense of motion. They had simply stepped through a -bright wall they could not feel. They found themselves in a replica of -the room they had left at 701. On the wall, a picture of the continuous -club-car corridor rolled toward them in a silent, endless stream. - -"The same room," Ann said in disappointment. "They just changed the -number. We haven't been anywhere." - - * * * * * - -Snader was fishing under his shirt for the key. He gave Ann a glance -that was almost a leer. Then he carefully unlocked the door. - -In the hall, a motherly old lady bustled up, but Snader brushed past -her. "Official," he said, showing her the key. "No lodging." - -He unlocked the front door without another word and carefully shut it -behind them as Jeff and Ann followed him out of the house. - -"Hey, where's my car?" Jeff demanded, looking up and down the street. - -The whole street looked different. Where he had parked his roadster, -there was now a long black limousine. - -"Your car is in future," Snader said briskly. "Where it belong. Get -in." He opened the door of the limousine. - -Jeff felt a little flame of excitement licking inside him. Something -was happening, he felt. Something exciting and dangerous. - -"Snader," he said, "if you're kidnaping us, you made a mistake. Nobody -on Earth will pay ransom for us." - -Snader seemed amused. "You are foolish fellow. Silly talk about ransom. -You in different time now." - -"When does this gag stop?" Jeff demanded irritably. "You haven't fooled -us. We're still in 1957." - -"You are? Look around." - -Jeff looked at the street again. He secretly admitted to himself -that these were different trees and houses than he remembered. Even -the telephone poles and street lights seemed peculiar, vaguely -foreign-looking. It must be an elaborate practical joke. Snader had -probably ushered them into one house, then through a tunnel and out -another house. - -"Get in," Snader said curtly. - -Jeff decided to go along with the hoax or whatever it was. He could -see no serious risk. He helped Ann into the back seat and sat beside -her. Snader slammed the door and slid into the driver's seat. He -started the engine with a roar and they rocketed away from the curb, -narrowly missing another car. - -Jeff yelled, "Easy, man! Look where you're going!" - -Snader guffawed. "Tonight, you look where you are going." - -Ann clung to Jeff. "Did you notice the house we came out of?" - -"What about it?" - -"It looked as though they were afraid people might try to break in. -There were bars at the windows." - -"Lots of houses are built that way, honey. Let's see, where are we?" He -glanced at house numbers. "This is the 800 block. Remember that. And -the street--" He peered up at a sign as they whirled around a corner. -"The street is Green Thru-Way. I never heard of a street like that." - - -III - -They were headed back toward what should have been the boulevard. The -car zoomed through a cloverleaf turn and up onto a broad freeway. Jeff -knew for certain there was no freeway there in 1957--nor in any earlier -year. But on the horizon, he could see the familiar dark bulk of the -mountains. The whole line of moonlit ridges was the same as always. - -"Ann," he said slowly, "I think this is for real. Somehow I guess we -escaped from 1957. We've been transported in time." - -She squeezed his arm. "If I'm dreaming, don't wake me! I was scared a -minute ago. But now, oh, boy!" - -"Likewise. But I still wonder what Snader's angle is." He leaned -forward and tapped the driver on his meaty shoulder. "You brought us -into the future instead of the past, didn't you?" - -It was hard to know whether Snader was sleepy or just bored, but he -shrugged briefly to show there was no reply coming. Then he yawned. - -Jeff smiled tightly. "I guess we'll find out in good time. Let's sit -back and enjoy the strangest ride of our lives." - -As the limousine swept along through the traffic, there were plenty -of big signs for turn-offs, but none gave any hint where they were. -The names were unfamiliar. Even the language seemed grotesque. "Rite -Channel for Creepers," he read. "Yaw for Torrey Rushway" flared at him -from a fork in the freeway. - -"This can't be the future," Ann said. "This limousine is almost new, -but it doesn't even have an automatic gear shift--" - -She broke off as the car shot down a ramp off the freeway and pulled up -in front of an apartment house. Just beyond was a big shopping center, -ablaze with lights and swarming with shoppers. Jeff did not recognize -it, in spite of his familiarity with the city. - -Snader bounded out, pulled open the rear door and jerked his head in a -commanding gesture. But Jeff did not get out. He told Snader, "Let's -have some answers before we go any further." - -Snader gave him a hard grin. "You hear everything upstairs." - -The building appeared harmless enough. Jeff looked thoughtfully at Ann. - -She said, "It's just an apartment house. We've come this far. Might as -well go in and see what's there." - -Snader led them in, up to the sixth floor in an elevator and along a -corridor with heavy carpets and soft gold lights. He knocked on a door. - - * * * * * - -A tall, silver-haired, important-looking man opened it and greeted them -heartily. - -"Solid man, Greet!" he exclaimed. "You're a real scratcher! And is this -our sharp?" He gave Jeff a friendly but appraising look. - -"Just what you order," Snader said proudly. "His name--Jeff Elliott. -Fine sharp. Best in his circuit. He brings his lifemate, too. Ann -Elliott." - -The old man rubbed his smooth hands together. "Prime! I wish joy," he -said to Ann and Jeff. "I'm Septo Kersey. Come in. Bullen's waiting." - -He led them into a spacious drawing room with great windows looking out -on the lights of the city. There was a leather chair in a corner, and -in it sat a heavy man with a grim mouth. He made no move, but grunted -a perfunctory "Wish joy" when Kersey introduced them. His cold eyes -studied Jeff while Kersey seated them in big chairs. - -Snader did not sit down, however. "No need for me now," he said, and -moved toward the door with a mocking wave at Ann. - -Bullen nodded. "You get the rest of your pay when Elliott proves out." - -"Here, wait a minute!" Jeff called. But Snader was gone. - -"Sit still," Bullen growled to Jeff. "You understand radioptics?" - -The blood went to Jeff's head. "My business is television, if that's -what you mean. What's this about?" - -"Tell him, Kersey," the big man said, and stared out the window. - -Kersey began, "You understand, I think, that you have come back in -time. About six years back." - -"That's a matter of opinion, but go on." - -"I am general manager of Continental Radioptic Combine, owned by Mr. -Dumont Bullen." He nodded toward the big man. "Chromatics have not -yet been developed here in connection with radioptics. They are well -understood in your time, are they not?" - -"What's chromatics? Color television?" - -"Exactly. You are an expert in--ah--colored television, I think." - -Jeff nodded. "So what?" - -The old man beamed at him. "You are here to work for our company. You -will enable us to be first with chromatics in this time wave." - -Jeff stood up. "Don't tell me who I'll work for." - - * * * * * - -Bullen slapped a big fist on the arm of his chair. "No fog about this! -You're bought and paid for, Elliott! You'll get a fair labor contract, -but you do what I say!" - -"Why, the man thinks he owns you." Ann laughed shakily. - -"You'll find my barmen know their law," Bullen said. "This isn't the -way I like to recruit. But it was only way to get a man with your -knowledge." - -Kersey said politely, "You are here illegally, with no immigrate -permit or citizen file. Therefore you cannot get work. But Mr. Bullen -has taken an interest in your trouble. Through his influence, you can -make a living. We even set aside an apartment in this building for you -to live in. You are really very luxe, do you see?" - -Jeff's legs felt weak. These highbinders seemed brutally confident. He -wondered how he and Ann would find their way home through the strange -streets. But he put on a bold front. - -"I don't believe your line about time travel and I don't plan to work -for you," he said. "My wife and I are walking out right now. Try and -stop us, legally or any other way." - -Kersey's smooth old face turned hard. But, unexpectedly, Bullen -chuckled deep in his throat. "Good pop and bang. Like to see it. Go -on, walk out. You hang in trouble, call up here--Butterfly 9, ask for -Bullen. Whole exchange us. I'll meet you here about eleven tomorrow -pre-noon." - -"Don't hold your breath. Let's go, Ann." - -When they were on the sidewalk, Ann took a deep breath. "We made it. -For a minute, I thought there'd be a brawl. Why did they let us go?" - -"No telling. Maybe they're harmless lunatics--or practical jokers." He -looked over his shoulder as they walked down the street, but there was -no sign of pursuit. "It's a long time since supper." - - * * * * * - -Her hand was cold in his and her face was white. To take her mind off -their problem, he ambled toward the lighted shop windows. - -"Look at that sign," he said, pointing to a poster over a display of -neckties. "'Sleek neck-sashes, only a Dick and a dollop!' How do they -expect to sell stuff with that crazy lingo?" - -"It's jive talk. They must cater to the high-school crowd." Ann -glanced nervously at the strolling people around them. "Jeff, where -are we? This isn't any part of the city I've ever seen. It doesn't -even look much like America." Her voice rose. "The way the women are -dressed--it's not old-fashioned, just different." - -"Baby, don't be scared. This is an adventure. Let's have fun." He -pressed her hand soothingly and pulled her toward a lunch counter. - -If the haberdasher's sign was jive, the restaurant spoke the same -jargon. The signs on the wall and the bill of fare were baffling. Jeff -pondered the list of beef shingles, scorchers, smack sticks and fruit -chills, until he noticed that a couple at the counter were eating what -clearly were hamburgers--though the "buns" looked more like tortillas. - -Jeff jerked his thumb at them and told the waitress, "Two, please." - -When the sandwiches arrived, they were ordinary enough. He and Ann ate -in silence. A feeling of foreboding hung over them. - -When they finished, the clerk gave him a check marked 1/20. Jeff looked -at it thoughtfully, shrugged and handed it to the cashier with two -dollar bills. - -The man at the desk glanced at them and laughed. "Stage money, eh?" - -"No, that's good money," Jeff assured him with a rather hollow smile. -"They're just new bills, that's all." - -The cashier picked one up and looked at it curiously. "I'm afraid it's -no good here," he said, and pushed it back. - -The bottom dropped out of Jeff's stomach. "What kind of money do you -want? This is all I have." - -The cashier's smile faded. He caught the eye of a man in uniform on one -of the stools. The uniform was dark green, but the man acted like a -policeman. He loomed up beside Jeff. - -"What's the rasper?" he demanded. Other customers, waiting to pay their -checks, eyed Jeff curiously. - -"I guess I'm in trouble," Jeff told him. "I'm a stranger here and I got -something to eat under the impression that my money was legal tender. -Do you know where I can exchange it?" - - * * * * * - -The officer picked up the dollar bill and fingered it with evident -interest. He turned it over and studied the printing. "United States of -America," he read aloud. "What are those?" - -"It's the name of the country I come from," Jeff said carefully. -"I--uh--got on the wrong train, apparently, and must have come further -than I thought. What's the name of this place?" - -"This is Costa, West Goodland, in the Continental Federation. Say, you -must come from an umpty remote part of the world if you don't know -about this country." His eyes narrowed. "Where'd you learn to speak -Federal, if you come from so far?" - -Jeff said helplessly, "I can't explain, if you don't know about the -United States. Listen, can you take me to a bank, or some place where -they know about foreign exchange?" - -The policeman scowled. "How'd you get into this country, anyway? You -got immigrate clearance?" - -An angry muttering started among the bystanders. - -The policeman made up his mind. "You come with me." - -At the police station, Jeff put his elbows dejectedly on the high -counter while the policeman talked to an officer in charge. Some men -whom Jeff took for reporters got up from a table and eased over to -listen. - -"I don't know whether to charge them with fakemake, bumsy, peekage or -lunate," the policeman said as he finished. - -His superior gave Jeff a long puzzled stare. - -Jeff sighed. "I know it sounds impossible, but a man brought me in -something he claimed was a time traveler. You speak the same language I -do--more or less--but everything else is kind of unfamiliar. I belong -in the United States, a country in North America. I can't believe I'm -so far in the future that the United States has been forgotten." - -There ensued a long, confused, inconclusive interrogation. - -The man behind the desk asked questions which seemed stupid to Jeff and -got answers which probably seemed stupid to him. - -The reporters quizzed Jeff gleefully. "Come out, what are you -advertising?" they kept asking. "Who got you up to this?" - -The police puzzled over his driver's license and the other cards in his -wallet. They asked repeatedly about the lack of a "Work License," which -Jeff took to be some sort of union card. Evidently there was grave -doubt that he had any legal right to be in the country. - -In the end, Jeff and Ann were locked in separate cells for the night. -Jeff groaned and pounded the bars as he thought of his wife, imprisoned -and alone in a smelly jail. After hours of pacing the cell, he lay down -in the cot and reached automatically for his silver pillbox. Then he -hesitated. - -In past weeks, his insomnia had grown worse and worse, so that lately -he had begun taking stronger pills. After a longing glance at the -big red and yellow capsules, he put the box away. Whatever tomorrow -brought, it wouldn't find him slow and drowsy. - - -IV - -He passed a wakeful night. In the early morning, he looked up to see a -little man with a briefcase at his cell door. - -"Wish joy, Mr. Elliott," the man said coolly. "I am one of Mr. Bullen's -barmen. You know, represent at law? He sent me to arrange your release, -if you are ready to be reasonable." - -Jeff lay there and put his hands behind his head. "I doubt if I'm -ready. I'm comfortable here. By the way, how did you know where I was?" - -"No problem. When we read in this morning's newspapers about a man -claiming to be a time traveler, we knew." - -"All right. Now start explaining. Until I understand where I am, Bullen -isn't getting me out of here." - -The lawyer smiled and sat down. "Mr. Kersey told you yesterday--you've -gone back six years. But you'll need some mental gymnastics to -understand. Time is a dimension, not a stream of events like a movie -film. A film never changes. Space does--and time does. For example, if -a movie showed a burning house at Sixth and Main, would you expect to -find a house burning whenever you returned to that corner?" - -"You mean to say that if I went back to 1865, I wouldn't find the Civil -War was over and Lincoln had been assassinated?" - -"If you go back to the time you call 1865--which is most easily -done--you will find that the people there know nothing of a Lincoln or -that war." - -Jeff looked blank. "What are they doing then?" - -The little man spread his hands. "What are the people doing now at -Sixth and Main? Certainly not the same things they were doing the day -of the fire. We're talking about a dimension, not an event. Don't you -grasp the difference between the two?" - -"Nope. To me, 1865 means the end of the Civil War. How else can you -speak of a point in time except by the events that happened then?" - -"Well, if you go to a place in three-dimensional space--say, a lake -in the mountains--how do you identify that place? By looking for -landmarks. It doesn't matter that an eagle is soaring over a mountain -peak. That's only an event. The peak is the landmark. You follow me?" - -"So far. Keep talking." - - * * * * * - -The little man looked pleased. "Very well. In the fourth -dimension--which is time--you do the same thing. You look around to see -what is visible where you are. My contemporaries can see that freedom -is unnecessary, that time travel is practical. Your people have not -reached that place in time yet. But yours can see the technical facts -about color television. Those facts are not visible yet to anyone here." - -"You mean that these inventions--" - -"Oh, no, no, no, Mr. Elliott," the little man said indignantly. "Don't -call them inventions. There are no inventions. None. There are only -truths--scientific principles waiting through eternity for someone to -discover them." - -"I must be dense, but--" - -"Did your Columbus invent America? Did someone invent fire? The -possibility of time travel, of color television, of any phase of social -progress--these are facts. They stand up in the time dimension like -mountains. Waves of humanity meander through the time dimension like -caravans of immigrants crossing a continent. The first man in any wave -to see the mountain peak claims that he 'invented' it. Soon it is -clearly visible to everyone. While the people of my wave know of time -travel, there are human caravans, following us many years back in time, -just now discovering steam." - -"Then the reason your people won't accept my money--" - -"Yah." The little lawyer nodded. "Your money is an outgrowth of your -history. It bears the name your people gave to the society they -built--the United States. This has no meaning to a different wave of -humanity, with a different history. These people here have reached this -point in time six years behind the humanity you traveled with." - -"Can I get back to my own time, my own wave of humanity?" - -"Not unless you know how." The lawyer grinned. "To be perfectly frank, -Mr. Elliott, there is no hope of your going back. Either work for -Bullen or live out your life in a mental institution. No one else will -give you work and no one will believe your story." - -Jeff clamped his teeth. If a crook like Snader could move freely back -and forth in time, there must be a way for Jeff to do it. Meanwhile, he -would pretend to be a humble and obedient servant. - -"Okay," he said to the lawyer. "I'm convinced. Get me out." - -"Snader is waiting with a car," the man said. "He'll meet you and your -wife outside. I'll free her at once, then go about my business." - - * * * * * - -Snader was standing beside the limousine. He looked Ann up and down. "I -like you, little lady. Soon I know you better." - -Jeff felt his temper rise. "You sure fooled us, didn't you, Snader?" - -"I warned you. There was risk." - -Ann's voice was steady. "Jeff, where are we going now?" - -"Back to Bullen. I understand the setup now. Maybe we'd better play -ball with him." - -"Did you find out what place this is?" - -"Yes--well, sort of. Here's a rough rundown. Incredible as it seems, -we really are in a past time period--different from our own past. This -period doesn't have color TV yet. Bullen wants to be first on the -market with it. So he sent our pal Greet Snader here to pick a man in -future time who had already mastered TV and sell him to Bullen as a -captive scientist. I imagine Snader raids the future for many experts." - -Snader stepped up to him with a dangerous smile. "All right, big wit. -Tell me my business. Tell me all about it." - -"You heard me. You're in the slave business." The blood throbbed in -Jeff's head. - -"You don't like?" Snader's scarred face looked fierce and gloating. -"Maybe you shovel coal from now. Or wipe floors." - -Jeff saw policemen watching from the jail entrance. He clamped his -mouth shut. - -"Don't be excitable or you get hurt," Snader advised. "We own you. We -gave you a break. Remember that, wise boy. You ready now?" - -Jeff nodded silently. - -Snader playfully twisted Jeff's ear and shoved him into the limousine. -"Don't tell me anything. Then I don't hurt you." - - -V - -Between Snader and Ann in the front seat, Jeff held Ann's hand and -winked encouragingly at her. - -"Snader, I guess you're right," he said. "This is a good deal for me. -I was sort of washed up in my own time." - -"Now you smart," Snader said. "Your little lady? She smart, too?" - -"Yep. By the way, how come you got us out so early? It's only nine -o'clock. Bullen said he'd expect me at eleven." - -"We go to time station first," Snader explained shortly. "I pick up -documents there. Breakfast there." - -"Good," Jeff said cheerfully. A plan was taking shape in his mind. "All -I'm worried about is my speed-up pills. Can I get some at the station? -I'm almost out." He pressed Ann's knee warningly. - -"Speed-up pills?" Snader looked suspicious--but then, he always did. -"What you mean?" - -"Don't you have speed-up tablets?" Jeff put surprise in his voice. -"Stuff to activate the half of the brain that normally doesn't work. -You _must_ have them." - -"What they look like?" - -Jeff fumbled for his silver pillbox. "They're the big red and yellow -capsules." He handed the box to Snader. "Don't spill them. I only have -three left. Where can I get more like those? I won't be nearly as good -without them." - -Keeping one hand on the wheel, Snader glanced down. The box had a -jumble of black vitamin pills and red and yellow sleeping tablets. - -"You say these big ones help brain?" he asked warily. - -"They speed up the reflexes--they make everything seem clear and easy. -Please give them back before you spill them." - -Snader thumbed the red and yellow capsules out and handed the box back -without them. "I keep these." He moved his head craftily to watch -Jeff's face in the mirror. - -Jeff was ready. He registered rage and fear. "Gimme those!" he shouted. -"I need them." - -Snader laughed. "Don't tell me orders. Easy now. You want to wreck car?" - -"I'll wreck us all if you don't give those back!" He grabbed Snader's -hand. - -Ann screamed as the car swerved, and horns blared from behind. Snader -clapped the capsules into his mouth and gripped the wheel with both -hands. - -"I take what I want," he said, gulping down the pills. "You give -trouble, I turn you over to police." - - * * * * * - -Jeff slumped down with a groan and buried his face in his hands to hide -a grin. It had worked. How long would the nembutal take to hit Snader? -It might act too fast. Jeff wondered what he could do then. - -Luckily, there was only a short distance to go. Even so, the car was -weaving as they whirled off the express road into Green Thru-Way. When -they pulled up in front of the barred house, Snader tumbled out and -lurched up the walk without a glance at his prisoners. - -Jeff and Ann followed, and Jeff stood close behind while Snader fumbled -inside his shirt for the key. When he found it and reached toward the -door, his knees buckled and Jeff caught him. - -"The key, Ann," Jeff whispered. "Pull the cord over his head and unlock -the door." - -Ann clawed at it while Jeff supported the weight of Snader's body. In a -moment, she had the door open and they were inside. - -The old housekeeper bustled in as Jeff half-dragged and half-lifted -Snader across the living room. - -"It's nothing serious," Jeff told her calmly. "He often has these -attacks. He'll be all right in a few minutes, and then I'll start him -off home." - -"Oh, the poor man," she clucked. "Such a ghast. Can I get you anything?" - -"Get us some hot water, mixed with mustard and soda," Jeff said, hoping -this would keep her busy for several minutes. She hurried away. - -Ann unlocked the door into the inner room and Jeff lugged the slave -trader inside. On the two screens, the endless chair-lined corridors -still fled toward them. - -When the door clicked shut, Jeff let Snader slide to the floor. Swiftly -he went through the man's pockets and felt in the lining of his clothes -for hidden documents. Papers, wallet, car-keys, a big stiff card that -seemed to be some kind of passport--Jeff stuffed everything into his -own pockets. - -"Hurry, Jeff," Ann begged. "Why waste time emptying his pockets?" - -"So he can't come back and bother us," Jeff said. "I'm sending -this joker on a one-way ride. He'll never be able to prove to the -authorities who he is." - - * * * * * - -Several pictures hung on the wall. Jeff jerked them down and used the -wire to tie Snader's feet and wrists. He tore some draperies to bind -him tighter. When the body was trussed like a turkey, Jeff heaved it -to his shoulder. With one lunge, he threw the unconscious man straight -into the screen. Snader vanished. - -"What happens when he wakes up?" Ann shakily wanted to know. - -Jeff dusted himself off. "He's headed to the end of the line," he said -harshly. "Remember? He told us about it. Without credentials, he'll -land in the convict gang, down around the year 600 A.D. That's -a bad time on this continent. Men who work there don't return--they -help build back the time groove." - -Ann smiled triumphantly. "Good for you! He deserved it. Imagine running -a commercial kidnaping enterprise! And now we can ride home, can't we?" - -Jeff, beginning to enjoy himself, shook his head. "Not just yet. First -I've got a date with Mr. Bullen." - -When they rapped on Bullen's door, Kersey welcomed them with an amused -smile. - -"We thought you would be back," he purred. "Where is Snader?" - -Jeff brushed past him to the drawing room, where Bullen sat by the -window. - -"I've decided to help you, Bullen," Jeff said. - -Bullen nodded his big head. "Naturally." - -"But I name my own price. What do you pay Kersey?" - -Bullen looked up with a grim smile. "Fifty thousand a year. I wonder -now if he worths it." - -"What's that? Dollars?" - -"We call them fiscals. Probably somehow much the same. Why?" - -"Listen, Bullen. If I help introduce color TV, there'll be big money -in it. I won't be a hog. You pay me forty thousand a year until we go -into production. Then we'll make a new deal, giving me a royalty on -sales." - -Kersey's face was scarlet. "You young greenshoot! Who do you think you -are? You'll work for nothing, if we say so." - -"Guess again," Jeff said. "Your slave trader won't be bringing any more -engineers for you. So you take me at my price--or nobody." - -The big man laughed. "You got rid of Snader, eh? Well, well. He was a -rogue. I thought he would run into trouble soon or late." - - * * * * * - -Kersey swore, but Bullen seemed to grasp the situation and waved him -to silence. "I like your fire, young man. With chromatics, we'll make -millions, so you're worth forty thousand plus royalties. Am I true in -thinking you won't want the apartment I reserved for you?" - -"Right. We'll retain our home in my own time. I'll commute to work here -every morning--it's quicker than commuting to the city in my own time." - -"In your thorough way," Kersey said sarcastically, "you have doubtless -figured out how you can spend our money back in your time." - -"I've thought about it," Jeff agreed. "There will be something I can -convert it into and carry back. Diamonds, maybe." - -Bullen laughed again. "You're solid, my boy. Get his work papers ready, -Kersey. These young people want to get home. I'll take Jeff to the -factory when he comes workward in the morning." - -Jeff stood up. "See you tomorrow, Bullen. Come on, Ann. We're going -home--home to our own time." - - - - - -End of the Project Gutenberg EBook of Butterfly 9, by Donald Keith - -*** END OF THIS PROJECT GUTENBERG EBOOK BUTTERFLY 9 *** - -***** This file should be named 51167.txt or 51167.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/1/6/51167/ - -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/51167.zip b/old/51167.zip Binary files differdeleted file mode 100644 index 6ba53f9..0000000 --- a/old/51167.zip +++ /dev/null |
