diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-02-04 10:38:53 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-04 10:38:53 -0800 |
| commit | 8ac96787cb3d88e042dcdd28376ba720ce621b93 (patch) | |
| tree | baf26b59581221106e8920ce43e04fa75284670d | |
| parent | 7953d6ec817f0e74f8bed825871c8ff29374d6f4 (diff) | |
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/63683-h.zip | bin | 402469 -> 0 bytes | |||
| -rw-r--r-- | old/63683-h/63683-h.htm | 1152 | ||||
| -rw-r--r-- | old/63683-h/images/cover.jpg | bin | 229718 -> 0 bytes | |||
| -rw-r--r-- | old/63683-h/images/illus.jpg | bin | 153839 -> 0 bytes | |||
| -rw-r--r-- | old/63683.txt | 1049 | ||||
| -rw-r--r-- | old/63683.zip | bin | 18817 -> 0 bytes |
9 files changed, 17 insertions, 2201 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..67ec9f6 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #63683 (https://www.gutenberg.org/ebooks/63683) diff --git a/old/63683-h.zip b/old/63683-h.zip Binary files differdeleted file mode 100644 index 8d50d3d..0000000 --- a/old/63683-h.zip +++ /dev/null diff --git a/old/63683-h/63683-h.htm b/old/63683-h/63683-h.htm deleted file mode 100644 index d93e002..0000000 --- a/old/63683-h/63683-h.htm +++ /dev/null @@ -1,1152 +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 Color Blind, by Charles A. Stearns. - </title> - <link rel="coverpage" href="images/cover.jpg" /> - - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2 { - text-align: center; /* all headings centered */ - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} - -.center {text-align: center;} - -.right {text-align: right;} - -/* Images */ -.figcenter { - margin: auto; - text-align: center; -} - -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 { text-align: center; text-indent: 0em; } -.ph1 { font-size: medium; margin: .83em auto; } - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of Color Blind, by Charles A. Stearns - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Color Blind - -Author: Charles A. Stearns - -Release Date: November 8, 2020 [EBook #63683] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK COLOR BLIND *** - - - - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<div class="titlepage"> - -<h1>COLOR BLIND</h1> - -<h2>By CHARLES A. STEARNS</h2> - -<p><i>For that elusive green-white glamour, go to Venus,<br /> -the ads urged vain women. But that was only half<br /> -the story—just ask olive-skinned Sukey Jones.</i></p> - -<p>[Transcriber's Note: This etext was produced from<br /> -Planet Stories Summer 1954.<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>Her name was Sukey Kireina Jones, and the blood of South Asia was in -her veins. Mix that with the Celtic, brother, and you've got something -special. Her eyes were dark, and mostly a little sad; her hair was -black as the Rim, and she stood barely five feet in heels, unless you -count the curves, which, if Nature had been fool enough to straighten -them out, would have added quite a lot—and taken away a lot too.</p> - -<p>We called her Sukey, and kidded her some, and what made her so -beautiful was, she didn't know it.</p> - -<p>I had found her hanging around the Surface Transit offices, broke and -alone, and got her the job as counter girl in the Company hash house -on the edge of the space-port. That was where she met my friend, Harry -Thurbley.</p> - -<p>Harry, was a licensed senior space pilot, but he would never let any -of us call him Captain Thurbley. He said the title sounded pompous, -and who the hell was he, anyway. The squarest guy I ever met, but you -would have thought that he was ashamed of that blue uniform. Me, Chuck -Morris, I am only an engineer—a space going mechanic—and I would -have given my share in the cosmic hereafter to wear it. I would have -strutted some.</p> - -<p>But uniform or no uniform, I wouldn't have stood a chance with Sukey -Jones. From the moment those two set eyes on one another, she had been -Harry's girl. I used to wonder how it would have been with her and me -if I had never introduced them. Just wondering.</p> - -<p>In those days there had got to be a heavy Venus passenger traffic. It -had become fashionable for Earth women to bleach their skin to match -their hair, and the coveted greenish-white paleness they wanted could -only be accomplished, it seemed, by spending several months under the -sunless Venusian overcast, with its odd radiations.</p> - -<p>Caterers to this fad left in scores for Venus. Tourist lodgings and -recreational facilities sprang up on the frontier planet. Beauty got to -be big business overnight.</p> - -<p>This was only available to women with considerable money, of course. -A round trip ticket cost just under twelve thousand dollars, and high -living, on Venus, came high indeed.</p> - -<p>Their poor sisters had recourse only to special lamps and lotions to -simulate the pallor of the movie stars and the debutantes. It was not -the same. Not in their own minds. It was the dream of every woman to -make the pilgrimage, and not a few spent their life savings, embezzled, -stowed away, or even sold themselves to Venusian white slavers for the -chance of that elusive glamour.</p> - -<p>Sukey's skin was of a wonderful, delicate olive shade, and she hated -it. Whenever one of the female travelers would come in to eat, looking -ghostly pale and opulent in their Martian lizard-skin coats, Sukey -Jones would sigh. I could tell that in her small body there was a -man-sized inferiority complex building up, but I didn't mention it to -Harry. He would only have worried about her.</p> - -<p>He was thoughtful of Sukey, and many a time when we got in, and he -had business with Customs or the Port Authority, he would say to me, -"Chuck, go and see Sukey for me, and tell her I'll be along."</p> - -<p>And as for Sukey Jones, she may not have been overly bright, but that -kind of treatment had been a rare thing in her twenty-three years of -hard knocks. She worshipped Harry Thurbley.</p> - -<p>That night in March we had set the <i>Altair</i> down on the field just -after dusk. Harry had business at the Office, and I was to drop in and -see Sukey first and let her know that he'd be in later. I didn't mind. -I was always glad to do it.</p> - -<p>I went into the restaurant, and the place was crowded with passengers -for the 2200 Marsflight. I couldn't find Sukey. There was a strange -girl behind the cash register. I asked her about it, and she said she -didn't know anything; she had just been hired.</p> - -<p>So I finally got Linda, one of the waitresses, aside, and got the story -from her.</p> - -<p>Seemed there had been a couple of women—society dames in from Venus -on the Saturday run—and Sukey had heard one of them make a remark -about her complexion. It was nothing much, just a whispered knife -of criticism, but Sukey had flared up. Then the woman got really -insulting, and Sukey had reached over the cash register and pulled out -a big handful of her platinum locks.</p> - -<p>That grab had cost her her job.</p> - -<hr class="tb" /> - -<p>I went to her apartment, in a ramshackle tenement a couple of blocks -away, and knocked on the door. A girl who claimed to be her roommate -answered, and said that Sukey had moved out. She wasn't supposed to -tell me where Sukey had gone if my name was Harry.</p> - -<p>I said, who was Harry. I was an insurance claim adjuster, and had some -money for her.</p> - -<p>Sukey had gone to live with a Mrs. Althea Campbell. The address was -1711 Oak Drive. That was all the roommate knew.</p> - -<p>Harry was waiting down at the office when I got back there. I told him -what I had learned, and we caught a coptercab out to 1711 Oak Drive. I -remember it was on a Thursday. That turned out to be kind of important.</p> - -<p>It was almost ten o'clock when we arrived, but the lights were still -on, and 1711 turned out to be quite a palace. "I didn't know Sukey had -any friends like that!" I said.</p> - -<p>Harry didn't answer. His mouth was a firm, tight line. He was still -thinking of Sukey running out on him.</p> - -<p>I pressed the button, and an egg-headed man in a monkey suit answered. -He was the butler; you could tell that.</p> - -<p>"A Miss Sukey Jones live here?" I said.</p> - -<p>His eyebrows elevated half an inch. "There is a young woman <i>employed</i> -here," he said. "I regret to say that this is her night off, and she is -not here."</p> - -<p>"Employed," I said to Harry. "She must have hired as a private -secretary or something."</p> - -<p>I doubt if the stiff in livery had smiled in years. He shouldn't have -tried it. It almost cost him his teeth. "Hardly anything so grand as -that," he said. "The girl is Mrs. Campbell's personal maid."</p> - -<p>Harry was silent for a moment. I waited for him to speak. We looked at -each other.</p> - -<p>"Maybe we ought to talk to this Althea Campbell," I suggested.</p> - -<p>The woman was nearer to forty than thirty, and she could have been -handsome once. Even now her shape wouldn't have been bad if she'd taken -off forty pounds. The poundage was unnatural and flabby, and her skin -was blotched and unpleasant. She was a faded, natural blonde, I would -say, but her hair was red now.</p> - -<p>Harry was always polite. He went forward and introduced us. She was -wearing a silk wrapper a couple of sizes too small, and she didn't get -up to greet us.</p> - -<p>Still, she didn't seem to be displeased by an unexpected visit by two -males at 10:00 p.m. The look she gave Harry was as if she might eat -him. Harry never seemed to notice how it was with women when he came -into a room, but I could see it, raw and naked, on her face.</p> - -<p>She was a widow, and Sukey had been working for her a week. Harry said -he knew of a job in the Company office that he could get for Sukey, and -he asked Mrs. Campbell to let her go, without telling her we'd been -there.</p> - -<p>Mrs. Campbell's face took on a little color, making it appear more -mottled than ever. And her voice was too shrill to be comfortable. She -said that maids were very difficult to find this day and time, and that -if Sukey didn't mind it, we shouldn't mind either. She wouldn't give -her up.</p> - -<p>"Let's wait and see what Sukey has to say about it," I suggested.</p> - -<p>Harry shook his head. "We can't do that. She mustn't know we've been -here, Chuck."</p> - -<p>"Why? Servants may be out of date, but there's nothing disgraceful -about honest labor."</p> - -<p>"Of course not," Harry said. "But to Sukey it must be embarrassing. -That's why she didn't let me know what she was doing, don't you see? It -must have been that."</p> - -<p>Well, it was logical enough. And that was Harry for you. Always -thinking first of Sukey's feelings, whereas I would probably have -turned her across my knee. But we had to do something.</p> - -<p>We were going to be in port for three weeks, and Harry made an -appointment to come back the following Thursday, when Sukey was away -from the house, and try to reason once more with Althea Campbell.</p> - -<p>Harry went back the next week, and the week after that, and he wasn't -having any luck, but he said that at least he could make sure that -Sukey was still all right.</p> - -<p>Meanwhile I did some snooping, and I found out several things about -Mrs. Campbell. She was worth eighteen and a half million bucks, and -she had spent half that much trying to regain a face, and figure, and -complexion of twenty years ago, that she probably remembered better -than they were.</p> - -<p>I talked to one of her former servants and learned that Sukey could -expect a hard time working for her. The woman was a kind of sadist with -servants, but Sukey would put up with anything to get what she wanted, -and I knew what it was she was after now. I knew why she had taken the -job.</p> - -<p>After I had learned this, I put in a visicall to the Oak Drive mansion. -The butler's face appeared on the screen. I was too late.</p> - -<p>I got hold of Harry as quick as I could, but I could see right away -that he had already found out.</p> - -<p>Mrs. Campbell had taken Sukey Jones and left last night for Venus.</p> - -<hr class="tb" /> - -<p>I had known Harry Thurbley for ten years, and he was a phlegmatic sort. -He had the kind of unshakable calm and nerve you only find in a man -that's made peace with death a couple of times or so out beyond the -planets. Once I had seen him walk into a mining power plant on Callisto -and disarm a runaway pile that was due to explode in three minutes and -blast away half the moon.</p> - -<p>When he came out he hadn't even been sweating.</p> - -<p>But he was upset now. I tried to calm him, but I guess he had a hunch. -I had spent several years on Venus and knew the place as well as any -Terran. I tried to persuade him that Sukey Jones wouldn't be in any -danger so long as they stuck to the civilized northern part, but he -didn't seem to half hear what I was saying.</p> - -<p>A month passed, and we made another trip beyond the Belt. When we got -back there was still no Sukey, and not even a letter. Harry and I went -into the Super's office and talked him into a transfer to the Venus run -for one trip.</p> - -<p>It was less than five days later that we set the <i>Altair</i> down on the -surface of the White Planet at Medea, the biggest port city on Venus. -The low, spidery towers of the native architects of old were crowded -and overshadowed by Earthstyle skyscrapers which had grown up, mostly, -since the last time I had seen Venus, fifteen years ago.</p> - -<p>It was Harry's first trip to the sister planet of Earth, and he seemed -surprised at the mushrooming civilization. But he still couldn't rest -until we'd given the ship into the hands of the ground crew and gone to -hunt Sukey and her mistress.</p> - -<p>Mrs. Campbell, we discovered, had checked in at the Majestic Hotel for -one week, and left, giving no forwarding address. After that she had -been heard from in two or three of the border cities. She had made the -rounds of all the beauty parlors and quack establishments in town. This -was her fourth trip to Venus, and all of the merchants knew her by -sight.</p> - -<p>But she was not, currently, visiting any of these places. It seemed -that Althea Campbell, a couple of days ago, had disappeared, which was -nothing to me, except that she had taken a tiny girl named Sukey Jones -with her.</p> - -<p>Mrs. Campbell may have had acquaintances about Venus, but not many -friends. Especially among the natives, whom she loathed and treated -like scum. The natives of the temperate belts were humanoid, and though -primitive in culture, fairly intelligent.</p> - -<p>They were thin, and not too bad-looking if you could get used to the -fish-belly whiteness of their scaly skins, and a partial lack of -symmetry in their bodies, such as having one eye a couple of sizes -bigger than the other one.</p> - -<p>It was from one of the Venusians that we found our first clue. He -was Argol Beg, the head of the native Security Police, an individual -with silvery, heavy-lidded eyes, and long, nervous, quadruple-jointed -fingers.</p> - -<p>He mentioned a name that I had heard a long time ago, and forgotten. -Marjud. Marjud had been one of the rebel chieftains who had fought -against the Alliance in the late Venerian sectional war, and now was -outlawed from the Northern settlements.</p> - -<p>I call him a man, but I had seen pictures of Marjud once, and there -were features about that gross body of his that no one except a -Venusian would believe. He was a native of the steaming jungles of -the torrid zone, a forbidden area where the native form mysteriously -shifted and changed from generation to generation for reasons at which -the anthropologists could only guess. His race was still barbaric, for -the most part, which was why it was off limits.</p> - -<p>It seemed that Marjud was now in the beauty racket. That could have -handed me a laugh, except that we were too worried about Sukey.</p> - -<p>We got a newspaper, the <i>Medean Times</i>, and sure enough, there was -his ad, in scrambled English that hadn't even been changed by the -proofreader.</p> - -<p class="ph1">See Marjud, High Priest of Love and Beauty<br /> -It Is for a Smooth, White Appearance and I<br /> -Will Give You the Limbs Long and Pale,<br /> -and Also Supple and Graceful.</p> - -<p>The address of the contact man was given. I asked Argol Beg why he -had not arrested Marjud. But Marjud's man had set up in the Colonial -Quarter, where Argol Beg had no authority, and he was not wanted by the -Earth colonial police.</p> - -<p>"Come on," I said to Harry. "Let's see if we can locate the old -gargoyle." Harry was pretty worried by this time, and he didn't half -understand what was going on, not knowing Venus.</p> - -<p>"I'm with you, whatever you say," he said.</p> - -<p>We visited the address given in the ad, and got to talk to a -normal-appearing native with slit eyes and a fishy stare. He said that -Marjud saw only Terran females, and he couldn't help us.</p> - -<p>I persuaded him to change his mind in a few minutes, and then he told -us that Marjud was staying in a dhol cave outside the city. The dhol -caves were made by a long-dead, semi-intelligent race of quadrupeds, -and it wasn't uncommon for the none-too-particular Venusians to set up -housekeeping in them.</p> - -<p>There was a guard hanging around the entrance to this one. The contact -man pointed out the guard and fled. The guard argued and I had to slug -him with the butt of my gun. Harry went over and looked at him.</p> - -<p>He turned to me and his face was clammy white. It was one of the -equatorial species.</p> - -<p>"What's the matter?" I said.</p> - -<p>"What is it?"</p> - -<p>I told him. "Marjud is worse," I said.</p> - -<p>"Stay here, Chuck," he said, drawing his own weapon. "If I don't come -out within five minutes, come in blasting."</p> - -<hr class="tb" /> - -<p>I started to argue, but I knew that he really wanted it that way. I had -more experience at the rough and tumble arts, but he had taken a back -seat so far, and it was his right. It was for Sukey.</p> - -<p>I waited, while the minutes dragged. Just as I was ready to go in, -Harry came out. There was a sick look on his face that I had never seen -before. He was one of those people who can't stand the sight of freaks -or anomalies.</p> - -<p>He took a deep breath of that damp, heavy, tasteless air, as though it -were wine.</p> - -<p>"You found him?"</p> - -<p>"It was like—like hitting a—a—" He gagged.</p> - -<p>"I know," I said. "I saw a picture of him once. What did you learn?"</p> - -<p>"Probably it doesn't make any sense. She—Mrs. Campbell—gave him ten -thousand dollars, Colonial money. I got that much out of him. In return -he arranged for them to visit what he calls a 'sacred rainbow garden', -whatever that means, near the equator. I got the approximate location -of the place."</p> - -<p>For the first time I got plenty scared. I knew about the rainbow -gardens, all right. On most of the surface of Venus the direct rays -of Sol never penetrated the numerous layers of poisonous clouds that -shielded and sheltered the livable atmosphere and the mild, though -dreary climate underneath. But in certain areas curious updrafts -allowed small shafts of sunlight to reach the surface. The areas were -never large, but wherever the light struck, the effect upon a drab, -colorless world was like magic.</p> - -<p>For a reason that science had never been able to learn, objects on -Venus, whenever exposed to direct sunlight, instead of giving off white -light, diffracted it into its spectral components, and showed up in -gorgeous, blinding hues. Also, the vegetation within these charmed -areas was subtly changed. The constant, radiant mist caused the trees -and plants to take on warped, nightmarish shapes.</p> - -<p>The natives worshipped the rainbow gardens, and bathed in the colored -mists that eternally swept up into the blackness of space from the -surface.</p> - -<p>I didn't want to upset Harry, but I had spent enough years on Venus to -hear a lot of curious stories that had circulated through the north -about those strange regions.</p> - -<p>"Come on," I said, "we'd better not waste any time."</p> - -<p>We had been able to charter an old-fashioned flutter-plane, which could -land more or less vertically, and Harry had the approximate longitude -of the place from Marjud.</p> - -<p>We could see it a long way off, fortunately, and it was like a big -waterspout, except for its preternatural straightness, reaching up in -a silvery, swirling column through the gray cloud layer twelve miles -overhead.</p> - -<p>He didn't swing the flutter-plane too near to it. The updrafts around -it, at this altitude, were supposed to move at terrific speed, and -could shatter even a rocketship.</p> - -<p>There was some kind of gray stone building rising out of the gray-green -forest at the foot of the column, and we landed a quarter of a mile -away, so as not to attract attention. We walked in, and in a few -minutes were able to make out the domes of the temple rising over the -tops of the trees.</p> - -<p>The masonry was of a rough, dark basalt, crude and unbeautiful. The -work of the primitive tribes that lived in the area. I had heard of -giant towers and spired old cities which were supposed to have been the -work of an ancient, long-dead, and highly evolved race, but there had -never been any evidence of such places. Probably these native temples -had started the stories. There was plenty of reason to believe that the -planet Venus was new and in the first evolution when men from Earth -arrived.</p> - -<p>Behind the temple itself rose a fifty foot wall of the same -undistinguished stone, and inside this wall the mysterious column of -mist rose. Within that mist lay the rainbow garden.</p> - -<p>The only entrance appeared to be through the temple itself.</p> - -<hr class="tb" /> - -<p>We were in an enormous rotunda, a sort of congregational throne room -where thousand of natives might gather during the orgies that were -irregularly held.</p> - -<p>There was not a living thing in sight in all that domed vastness. -Hundreds of idols of obscure primitive gods lined the walls.</p> - -<p>Harry cupped his hands to his mouth. "Anybody here?" The words bellowed -and bounced against the lofty ceiling, echoing and reechoing. And they -got results right away.</p> - -<p>From somewhere among those shadows at the other end of the room there -was a blue flash. The air crackled and fried near my ear. We flopped on -the floor and returned the fire. There was a scream. One of us had made -a lucky hit. We waited ten minutes and advanced.</p> - -<p>We found the body of a Venusian in colonial garb, one of the slim, -regular-featured northern tribesmen. I knew that he must be Marjud's -agent, for Northerners were rarely found in these latitudes if they -could help it.</p> - -<p>Beyond the dead Venusian lay a narrow passageway that must lead to the -inner chambers.</p> - -<p>Harry wanted to rush the place. "Take it easy," I said. "These boys -are tricky, and they have little poison spears that kill on contact. -There's bound to be a few of them hanging around the garden—the -priests. That was Marjud's underling back there. We haven't met the -natives yet."</p> - -<p>We met them right away. Three of them had been waiting for us in a -sort of transept. Something—a blunt hatchet probably—bounced off my -shoulder and sent a sharp pain through it. I swung my fist and caught -the assailant in his skeleton midriff, doubling him up. I could only -see the outline of his shape in that gloom, and I didn't like it. It -was out of a nightmare. Harry was having better luck. He shoved the -muzzle of his gun into the Venusian's belly and burned a hole through -him.</p> - -<p>The other one tried to run, but he didn't get far.</p> - -<p>Harry was breathing hard. He grinned at me. "You okay?" he said.</p> - -<p>"I'll have a shoulder that's sore as hell for a while," I said, "but -let's go."</p> - -<p>A dozen passageways led from the main one. "Where do we look first?" -Harry wanted to know.</p> - -<p>"We'd better split up. That way we can cover more territory."</p> - -<p>"I don't like to leave you alone with that bum shoulder."</p> - -<p>"Forget it. If there were any more around, they've cleared out by now. -Get going."</p> - -<p>I had a pocket light that I used in the darkest passages. Most of the -cloisters and compartments were empty, and didn't look as though they'd -been used in years.</p> - -<p>At the end of one passageway I found the rooms of the priests, very -sparsely furnished, and from there I got a glimpse from a narrow -ventilation slit at the garden itself. The colored mists and the weird -trees. But no animate being was moving out there.</p> - -<p>In the last room, the door was barred with a crude, vertical bolt. I -blasted off the bar, and opened the door. Behind it I found Sukey Jones.</p> - -<hr class="tb" /> - -<p>She stood there looking scared, and not believing that it was really -me. Her eyes were big as dollars.</p> - -<p>And when she was sure, the way she threw herself at me and hugged me, -it was embarrassing.</p> - -<p>"Chuck, Chuck! I never thought I'd see you again. I never—I'm so—!" -And that was all I got out of her for the next couple of minutes. I -gave her my handkerchief to dab at her eyes, and I got the story at -last.</p> - -<p>She had been there two days without food and water, locked in.</p> - -<p>They had arrived a week ago, and during that time she had seen nothing -except the interior of this room.</p> - -<p>Althea Campbell had heard rumors of the rainbow gardens, and that the -natives, by bathing in the radiation given off by the colored mists, -were able to restore youth and vigor for long periods of time. She had -seen the chance of restoring her own body to its youthful bloom and of -working the miracle that she had sought for so many years on half a -dozen planets. She had sought out Marjud, who alone had contacts that -could get them into the forbidden area.</p> - -<p>"I still don't get it," I said. "Where is she now, and why has she got -you locked in here?"</p> - -<p>"I was afraid after we arrived, and I didn't want to do it. She said we -had to take off our clothes and go with the priests into the rainbow -garden. I refused, and she slapped me and said that I was impertinent -and ungrateful. I threatened to run away and tell the authorities, so -they locked me in here.</p> - -<p>"The she-devil!" I said.</p> - -<p>"Oh, she's really not so bad," said Sukey, forgivingly. "It's just that -she's a little mad when it comes to being young and beautiful. She was -forever talking about the way her arms and legs looked, and all, and -crying, and bawling me out."</p> - -<p>"Come on," I said. "Let's find Harry and get out of here."</p> - -<p>Her lip quivered. "H-Harry? Is he here too?"</p> - -<p>"Somewhere," I said, trying to frown at her, and not succeeding, "and -worried to death. If I was him I would skin you alive."</p> - -<p>"I just wanted a chance to come to Venus. That's why I took the job as -maid to Mrs. Campbell. I knew that she was tremendously wealthy and -came to Venus every year to the beauty culturists."</p> - -<p>I didn't press the subject. The sky over Venus hadn't faded her -complexion much, luckily.</p> - -<p>It was still fine, even if she did look a little beat.</p> - -<p>We went out into the hallway and I yelled for Harry. He answered. He -seemed to be outside.</p> - -<p>I looked out one of the ventilation slits. He was standing out there -with his back to me, looking into the rainbow garden. The mists were -rising in wispy colors here and there, and I could tell without looking -at my chrono that the long Venusian night was approaching, for the -distorted shapes of the trees were vague, and could no longer be seen -more than a few yards away.</p> - -<p>"Up here!" I said. And he looked up.</p> - -<p>He pointed to the garden. "Thought I heard somebody calling out there," -he said, pointing.</p> - -<p>"Don't go away," I said. "And don't go in there, whatever you do. I'll -be right out."</p> - -<p>I grabbed Sukey's arm. "We'll surprise him," I told her.</p> - -<hr class="tb" /> - -<p>Sukey Jones came up from behind Harry and put her hand on his arm. -He turned and they just looked at each other for the space of half a -minute.</p> - -<p>Harry's voice was kind of choked. He said, "Sukey, I—"</p> - -<p>And then we all heard it. It was a woman crying. The sound came from -the garden. Harry took a step toward the mists.</p> - -<p>"Wait," I said. And I shouted, "Mrs. Campbell, is that you?"</p> - -<p>"Here!" Her voice was faint and plaintive. Just as I had remembered it.</p> - -<p>"Come on out. We've come to take you home."</p> - -<p>"I—I can't."</p> - -<p>"How long has she been in there?" I asked Sukey. "Do you know?"</p> - -<p>"All of the time, I suppose."</p> - -<p>I shook my head. "It's risky business, but we can't leave her, I -suppose. I'll go in."</p> - -<p>"I can't let you do that," Harry said. "I'm the logical one to go. -Listen!" We could hear her crying. A vexed, lost-little-girl sound.</p> - -<p>I shoved Harry aside. "You don't know what you're getting into," I -said. "Take Sukey, and—"</p> - -<p>That was the first and only time that Harry ever swung at me. The first -thing I knew, I was sitting on the ground with my head spinning.</p> - -<p>Harry was looking down at me and grinning sardonically. "I hated to do -that, Chuck," he said, "but you see, it has to be me that goes after -her."</p> - -<p>He turned and took both of Sukey's thin shoulders in his hands. He -couldn't speak for a while. His eyes were talking, though; saying -they were awfully sorry. And then he took a couple of steps into that -colored mist before he stopped and looked back.</p> - -<hr class="chap" /> - -<div class="figcenter"> - <img src="images/illus.jpg" alt=""/> -</div> - -<hr class="chap" /> - -<p>He was still smiling, but it was a secret smile. He said, "It's too -bad, Sukey, but you know, eighteen million bucks are eighteen million -bucks."</p> - -<p>"What the—?" I said.</p> - -<p>"Harry, darling, is that you?" The voice of Mrs. Campbell was closer -now.</p> - -<p>"Coming, Althea dear!" he said, and laughed at me. "Do you suppose I -<i>wasted</i> all those Thursdays, Chuck?" he said. "'Bye. Take care of -Sukey for me. Althea and I'll be along later."</p> - -<p>He turned his back on us and went deeper into the mists, calling her -name, spreading the bushes with his hands and trying to see her.</p> - -<p>He was hazy now, hardly visible.</p> - -<p>But I saw Althea Campbell just an instant before he did. She came out -of the rainbow mist from behind him, and her now-blonde hair glimmered -with reds and greens, and blues and gold and purple. Her naked body -was snow white. She had got her money's worth, I suppose. Marjud had -promised her that pale complexion.</p> - -<p>And the curious radiations had given her smooth legs and arms that were -pearl-white and long, and supple, and graceful.</p> - -<p>She came from behind Harry and put her arms around him.</p> - -<p>All of them.</p> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Color Blind, by Charles A. Stearns - -*** END OF THIS PROJECT GUTENBERG EBOOK COLOR BLIND *** - -***** This file should be named 63683-h.htm or 63683-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/6/8/63683/ - -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 print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-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 in the United States with eBooks -not protected by U.S. copyright law. 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 -www.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 unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-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 in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-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 The -Project Gutenberg Trademark LLC, 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 -works not protected by U.S. copyright law 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 information page at -www.gutenberg.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. 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 in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -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: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty 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 not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: 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/63683-h/images/cover.jpg b/old/63683-h/images/cover.jpg Binary files differdeleted file mode 100644 index 118e917..0000000 --- a/old/63683-h/images/cover.jpg +++ /dev/null diff --git a/old/63683-h/images/illus.jpg b/old/63683-h/images/illus.jpg Binary files differdeleted file mode 100644 index e4f3181..0000000 --- a/old/63683-h/images/illus.jpg +++ /dev/null diff --git a/old/63683.txt b/old/63683.txt deleted file mode 100644 index 6133958..0000000 --- a/old/63683.txt +++ /dev/null @@ -1,1049 +0,0 @@ -The Project Gutenberg EBook of Color Blind, by Charles A. Stearns - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Color Blind - -Author: Charles A. Stearns - -Release Date: November 8, 2020 [EBook #63683] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK COLOR BLIND *** - - - - -Produced by Greg Weeks, Mary Meehan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - COLOR BLIND - - By CHARLES A. STEARNS - - _For that elusive green-white glamour, go to Venus, - the ads urged vain women. But that was only half - the story--just ask olive-skinned Sukey Jones._ - - [Transcriber's Note: This etext was produced from - Planet Stories Summer 1954. - Extensive research did not uncover any evidence that - the U.S. copyright on this publication was renewed.] - - -Her name was Sukey Kireina Jones, and the blood of South Asia was in -her veins. Mix that with the Celtic, brother, and you've got something -special. Her eyes were dark, and mostly a little sad; her hair was -black as the Rim, and she stood barely five feet in heels, unless you -count the curves, which, if Nature had been fool enough to straighten -them out, would have added quite a lot--and taken away a lot too. - -We called her Sukey, and kidded her some, and what made her so -beautiful was, she didn't know it. - -I had found her hanging around the Surface Transit offices, broke and -alone, and got her the job as counter girl in the Company hash house -on the edge of the space-port. That was where she met my friend, Harry -Thurbley. - -Harry, was a licensed senior space pilot, but he would never let any -of us call him Captain Thurbley. He said the title sounded pompous, -and who the hell was he, anyway. The squarest guy I ever met, but you -would have thought that he was ashamed of that blue uniform. Me, Chuck -Morris, I am only an engineer--a space going mechanic--and I would -have given my share in the cosmic hereafter to wear it. I would have -strutted some. - -But uniform or no uniform, I wouldn't have stood a chance with Sukey -Jones. From the moment those two set eyes on one another, she had been -Harry's girl. I used to wonder how it would have been with her and me -if I had never introduced them. Just wondering. - -In those days there had got to be a heavy Venus passenger traffic. It -had become fashionable for Earth women to bleach their skin to match -their hair, and the coveted greenish-white paleness they wanted could -only be accomplished, it seemed, by spending several months under the -sunless Venusian overcast, with its odd radiations. - -Caterers to this fad left in scores for Venus. Tourist lodgings and -recreational facilities sprang up on the frontier planet. Beauty got to -be big business overnight. - -This was only available to women with considerable money, of course. -A round trip ticket cost just under twelve thousand dollars, and high -living, on Venus, came high indeed. - -Their poor sisters had recourse only to special lamps and lotions to -simulate the pallor of the movie stars and the debutantes. It was not -the same. Not in their own minds. It was the dream of every woman to -make the pilgrimage, and not a few spent their life savings, embezzled, -stowed away, or even sold themselves to Venusian white slavers for the -chance of that elusive glamour. - -Sukey's skin was of a wonderful, delicate olive shade, and she hated -it. Whenever one of the female travelers would come in to eat, looking -ghostly pale and opulent in their Martian lizard-skin coats, Sukey -Jones would sigh. I could tell that in her small body there was a -man-sized inferiority complex building up, but I didn't mention it to -Harry. He would only have worried about her. - -He was thoughtful of Sukey, and many a time when we got in, and he -had business with Customs or the Port Authority, he would say to me, -"Chuck, go and see Sukey for me, and tell her I'll be along." - -And as for Sukey Jones, she may not have been overly bright, but that -kind of treatment had been a rare thing in her twenty-three years of -hard knocks. She worshipped Harry Thurbley. - -That night in March we had set the _Altair_ down on the field just -after dusk. Harry had business at the Office, and I was to drop in and -see Sukey first and let her know that he'd be in later. I didn't mind. -I was always glad to do it. - -I went into the restaurant, and the place was crowded with passengers -for the 2200 Marsflight. I couldn't find Sukey. There was a strange -girl behind the cash register. I asked her about it, and she said she -didn't know anything; she had just been hired. - -So I finally got Linda, one of the waitresses, aside, and got the story -from her. - -Seemed there had been a couple of women--society dames in from Venus -on the Saturday run--and Sukey had heard one of them make a remark -about her complexion. It was nothing much, just a whispered knife -of criticism, but Sukey had flared up. Then the woman got really -insulting, and Sukey had reached over the cash register and pulled out -a big handful of her platinum locks. - -That grab had cost her her job. - - * * * * * - -I went to her apartment, in a ramshackle tenement a couple of blocks -away, and knocked on the door. A girl who claimed to be her roommate -answered, and said that Sukey had moved out. She wasn't supposed to -tell me where Sukey had gone if my name was Harry. - -I said, who was Harry. I was an insurance claim adjuster, and had some -money for her. - -Sukey had gone to live with a Mrs. Althea Campbell. The address was -1711 Oak Drive. That was all the roommate knew. - -Harry was waiting down at the office when I got back there. I told him -what I had learned, and we caught a coptercab out to 1711 Oak Drive. I -remember it was on a Thursday. That turned out to be kind of important. - -It was almost ten o'clock when we arrived, but the lights were still -on, and 1711 turned out to be quite a palace. "I didn't know Sukey had -any friends like that!" I said. - -Harry didn't answer. His mouth was a firm, tight line. He was still -thinking of Sukey running out on him. - -I pressed the button, and an egg-headed man in a monkey suit answered. -He was the butler; you could tell that. - -"A Miss Sukey Jones live here?" I said. - -His eyebrows elevated half an inch. "There is a young woman _employed_ -here," he said. "I regret to say that this is her night off, and she is -not here." - -"Employed," I said to Harry. "She must have hired as a private -secretary or something." - -I doubt if the stiff in livery had smiled in years. He shouldn't have -tried it. It almost cost him his teeth. "Hardly anything so grand as -that," he said. "The girl is Mrs. Campbell's personal maid." - -Harry was silent for a moment. I waited for him to speak. We looked at -each other. - -"Maybe we ought to talk to this Althea Campbell," I suggested. - -The woman was nearer to forty than thirty, and she could have been -handsome once. Even now her shape wouldn't have been bad if she'd taken -off forty pounds. The poundage was unnatural and flabby, and her skin -was blotched and unpleasant. She was a faded, natural blonde, I would -say, but her hair was red now. - -Harry was always polite. He went forward and introduced us. She was -wearing a silk wrapper a couple of sizes too small, and she didn't get -up to greet us. - -Still, she didn't seem to be displeased by an unexpected visit by two -males at 10:00 p.m. The look she gave Harry was as if she might eat -him. Harry never seemed to notice how it was with women when he came -into a room, but I could see it, raw and naked, on her face. - -She was a widow, and Sukey had been working for her a week. Harry said -he knew of a job in the Company office that he could get for Sukey, and -he asked Mrs. Campbell to let her go, without telling her we'd been -there. - -Mrs. Campbell's face took on a little color, making it appear more -mottled than ever. And her voice was too shrill to be comfortable. She -said that maids were very difficult to find this day and time, and that -if Sukey didn't mind it, we shouldn't mind either. She wouldn't give -her up. - -"Let's wait and see what Sukey has to say about it," I suggested. - -Harry shook his head. "We can't do that. She mustn't know we've been -here, Chuck." - -"Why? Servants may be out of date, but there's nothing disgraceful -about honest labor." - -"Of course not," Harry said. "But to Sukey it must be embarrassing. -That's why she didn't let me know what she was doing, don't you see? It -must have been that." - -Well, it was logical enough. And that was Harry for you. Always -thinking first of Sukey's feelings, whereas I would probably have -turned her across my knee. But we had to do something. - -We were going to be in port for three weeks, and Harry made an -appointment to come back the following Thursday, when Sukey was away -from the house, and try to reason once more with Althea Campbell. - -Harry went back the next week, and the week after that, and he wasn't -having any luck, but he said that at least he could make sure that -Sukey was still all right. - -Meanwhile I did some snooping, and I found out several things about -Mrs. Campbell. She was worth eighteen and a half million bucks, and -she had spent half that much trying to regain a face, and figure, and -complexion of twenty years ago, that she probably remembered better -than they were. - -I talked to one of her former servants and learned that Sukey could -expect a hard time working for her. The woman was a kind of sadist with -servants, but Sukey would put up with anything to get what she wanted, -and I knew what it was she was after now. I knew why she had taken the -job. - -After I had learned this, I put in a visicall to the Oak Drive mansion. -The butler's face appeared on the screen. I was too late. - -I got hold of Harry as quick as I could, but I could see right away -that he had already found out. - -Mrs. Campbell had taken Sukey Jones and left last night for Venus. - - * * * * * - -I had known Harry Thurbley for ten years, and he was a phlegmatic sort. -He had the kind of unshakable calm and nerve you only find in a man -that's made peace with death a couple of times or so out beyond the -planets. Once I had seen him walk into a mining power plant on Callisto -and disarm a runaway pile that was due to explode in three minutes and -blast away half the moon. - -When he came out he hadn't even been sweating. - -But he was upset now. I tried to calm him, but I guess he had a hunch. -I had spent several years on Venus and knew the place as well as any -Terran. I tried to persuade him that Sukey Jones wouldn't be in any -danger so long as they stuck to the civilized northern part, but he -didn't seem to half hear what I was saying. - -A month passed, and we made another trip beyond the Belt. When we got -back there was still no Sukey, and not even a letter. Harry and I went -into the Super's office and talked him into a transfer to the Venus run -for one trip. - -It was less than five days later that we set the _Altair_ down on the -surface of the White Planet at Medea, the biggest port city on Venus. -The low, spidery towers of the native architects of old were crowded -and overshadowed by Earthstyle skyscrapers which had grown up, mostly, -since the last time I had seen Venus, fifteen years ago. - -It was Harry's first trip to the sister planet of Earth, and he seemed -surprised at the mushrooming civilization. But he still couldn't rest -until we'd given the ship into the hands of the ground crew and gone to -hunt Sukey and her mistress. - -Mrs. Campbell, we discovered, had checked in at the Majestic Hotel for -one week, and left, giving no forwarding address. After that she had -been heard from in two or three of the border cities. She had made the -rounds of all the beauty parlors and quack establishments in town. This -was her fourth trip to Venus, and all of the merchants knew her by -sight. - -But she was not, currently, visiting any of these places. It seemed -that Althea Campbell, a couple of days ago, had disappeared, which was -nothing to me, except that she had taken a tiny girl named Sukey Jones -with her. - -Mrs. Campbell may have had acquaintances about Venus, but not many -friends. Especially among the natives, whom she loathed and treated -like scum. The natives of the temperate belts were humanoid, and though -primitive in culture, fairly intelligent. - -They were thin, and not too bad-looking if you could get used to the -fish-belly whiteness of their scaly skins, and a partial lack of -symmetry in their bodies, such as having one eye a couple of sizes -bigger than the other one. - -It was from one of the Venusians that we found our first clue. He -was Argol Beg, the head of the native Security Police, an individual -with silvery, heavy-lidded eyes, and long, nervous, quadruple-jointed -fingers. - -He mentioned a name that I had heard a long time ago, and forgotten. -Marjud. Marjud had been one of the rebel chieftains who had fought -against the Alliance in the late Venerian sectional war, and now was -outlawed from the Northern settlements. - -I call him a man, but I had seen pictures of Marjud once, and there -were features about that gross body of his that no one except a -Venusian would believe. He was a native of the steaming jungles of -the torrid zone, a forbidden area where the native form mysteriously -shifted and changed from generation to generation for reasons at which -the anthropologists could only guess. His race was still barbaric, for -the most part, which was why it was off limits. - -It seemed that Marjud was now in the beauty racket. That could have -handed me a laugh, except that we were too worried about Sukey. - -We got a newspaper, the _Medean Times_, and sure enough, there was -his ad, in scrambled English that hadn't even been changed by the -proofreader. - - See Marjud, High Priest of Love and Beauty - It Is for a Smooth, White Appearance and I - Will Give You the Limbs Long and Pale, - and Also Supple and Graceful. - -The address of the contact man was given. I asked Argol Beg why he -had not arrested Marjud. But Marjud's man had set up in the Colonial -Quarter, where Argol Beg had no authority, and he was not wanted by the -Earth colonial police. - -"Come on," I said to Harry. "Let's see if we can locate the old -gargoyle." Harry was pretty worried by this time, and he didn't half -understand what was going on, not knowing Venus. - -"I'm with you, whatever you say," he said. - -We visited the address given in the ad, and got to talk to a -normal-appearing native with slit eyes and a fishy stare. He said that -Marjud saw only Terran females, and he couldn't help us. - -I persuaded him to change his mind in a few minutes, and then he told -us that Marjud was staying in a dhol cave outside the city. The dhol -caves were made by a long-dead, semi-intelligent race of quadrupeds, -and it wasn't uncommon for the none-too-particular Venusians to set up -housekeeping in them. - -There was a guard hanging around the entrance to this one. The contact -man pointed out the guard and fled. The guard argued and I had to slug -him with the butt of my gun. Harry went over and looked at him. - -He turned to me and his face was clammy white. It was one of the -equatorial species. - -"What's the matter?" I said. - -"What is it?" - -I told him. "Marjud is worse," I said. - -"Stay here, Chuck," he said, drawing his own weapon. "If I don't come -out within five minutes, come in blasting." - - * * * * * - -I started to argue, but I knew that he really wanted it that way. I had -more experience at the rough and tumble arts, but he had taken a back -seat so far, and it was his right. It was for Sukey. - -I waited, while the minutes dragged. Just as I was ready to go in, -Harry came out. There was a sick look on his face that I had never seen -before. He was one of those people who can't stand the sight of freaks -or anomalies. - -He took a deep breath of that damp, heavy, tasteless air, as though it -were wine. - -"You found him?" - -"It was like--like hitting a--a--" He gagged. - -"I know," I said. "I saw a picture of him once. What did you learn?" - -"Probably it doesn't make any sense. She--Mrs. Campbell--gave him ten -thousand dollars, Colonial money. I got that much out of him. In return -he arranged for them to visit what he calls a 'sacred rainbow garden', -whatever that means, near the equator. I got the approximate location -of the place." - -For the first time I got plenty scared. I knew about the rainbow -gardens, all right. On most of the surface of Venus the direct rays -of Sol never penetrated the numerous layers of poisonous clouds that -shielded and sheltered the livable atmosphere and the mild, though -dreary climate underneath. But in certain areas curious updrafts -allowed small shafts of sunlight to reach the surface. The areas were -never large, but wherever the light struck, the effect upon a drab, -colorless world was like magic. - -For a reason that science had never been able to learn, objects on -Venus, whenever exposed to direct sunlight, instead of giving off white -light, diffracted it into its spectral components, and showed up in -gorgeous, blinding hues. Also, the vegetation within these charmed -areas was subtly changed. The constant, radiant mist caused the trees -and plants to take on warped, nightmarish shapes. - -The natives worshipped the rainbow gardens, and bathed in the colored -mists that eternally swept up into the blackness of space from the -surface. - -I didn't want to upset Harry, but I had spent enough years on Venus to -hear a lot of curious stories that had circulated through the north -about those strange regions. - -"Come on," I said, "we'd better not waste any time." - -We had been able to charter an old-fashioned flutter-plane, which could -land more or less vertically, and Harry had the approximate longitude -of the place from Marjud. - -We could see it a long way off, fortunately, and it was like a big -waterspout, except for its preternatural straightness, reaching up in -a silvery, swirling column through the gray cloud layer twelve miles -overhead. - -He didn't swing the flutter-plane too near to it. The updrafts around -it, at this altitude, were supposed to move at terrific speed, and -could shatter even a rocketship. - -There was some kind of gray stone building rising out of the gray-green -forest at the foot of the column, and we landed a quarter of a mile -away, so as not to attract attention. We walked in, and in a few -minutes were able to make out the domes of the temple rising over the -tops of the trees. - -The masonry was of a rough, dark basalt, crude and unbeautiful. The -work of the primitive tribes that lived in the area. I had heard of -giant towers and spired old cities which were supposed to have been the -work of an ancient, long-dead, and highly evolved race, but there had -never been any evidence of such places. Probably these native temples -had started the stories. There was plenty of reason to believe that the -planet Venus was new and in the first evolution when men from Earth -arrived. - -Behind the temple itself rose a fifty foot wall of the same -undistinguished stone, and inside this wall the mysterious column of -mist rose. Within that mist lay the rainbow garden. - -The only entrance appeared to be through the temple itself. - - * * * * * - -We were in an enormous rotunda, a sort of congregational throne room -where thousand of natives might gather during the orgies that were -irregularly held. - -There was not a living thing in sight in all that domed vastness. -Hundreds of idols of obscure primitive gods lined the walls. - -Harry cupped his hands to his mouth. "Anybody here?" The words bellowed -and bounced against the lofty ceiling, echoing and reechoing. And they -got results right away. - -From somewhere among those shadows at the other end of the room there -was a blue flash. The air crackled and fried near my ear. We flopped on -the floor and returned the fire. There was a scream. One of us had made -a lucky hit. We waited ten minutes and advanced. - -We found the body of a Venusian in colonial garb, one of the slim, -regular-featured northern tribesmen. I knew that he must be Marjud's -agent, for Northerners were rarely found in these latitudes if they -could help it. - -Beyond the dead Venusian lay a narrow passageway that must lead to the -inner chambers. - -Harry wanted to rush the place. "Take it easy," I said. "These boys -are tricky, and they have little poison spears that kill on contact. -There's bound to be a few of them hanging around the garden--the -priests. That was Marjud's underling back there. We haven't met the -natives yet." - -We met them right away. Three of them had been waiting for us in a -sort of transept. Something--a blunt hatchet probably--bounced off my -shoulder and sent a sharp pain through it. I swung my fist and caught -the assailant in his skeleton midriff, doubling him up. I could only -see the outline of his shape in that gloom, and I didn't like it. It -was out of a nightmare. Harry was having better luck. He shoved the -muzzle of his gun into the Venusian's belly and burned a hole through -him. - -The other one tried to run, but he didn't get far. - -Harry was breathing hard. He grinned at me. "You okay?" he said. - -"I'll have a shoulder that's sore as hell for a while," I said, "but -let's go." - -A dozen passageways led from the main one. "Where do we look first?" -Harry wanted to know. - -"We'd better split up. That way we can cover more territory." - -"I don't like to leave you alone with that bum shoulder." - -"Forget it. If there were any more around, they've cleared out by now. -Get going." - -I had a pocket light that I used in the darkest passages. Most of the -cloisters and compartments were empty, and didn't look as though they'd -been used in years. - -At the end of one passageway I found the rooms of the priests, very -sparsely furnished, and from there I got a glimpse from a narrow -ventilation slit at the garden itself. The colored mists and the weird -trees. But no animate being was moving out there. - -In the last room, the door was barred with a crude, vertical bolt. I -blasted off the bar, and opened the door. Behind it I found Sukey Jones. - - * * * * * - -She stood there looking scared, and not believing that it was really -me. Her eyes were big as dollars. - -And when she was sure, the way she threw herself at me and hugged me, -it was embarrassing. - -"Chuck, Chuck! I never thought I'd see you again. I never--I'm so--!" -And that was all I got out of her for the next couple of minutes. I -gave her my handkerchief to dab at her eyes, and I got the story at -last. - -She had been there two days without food and water, locked in. - -They had arrived a week ago, and during that time she had seen nothing -except the interior of this room. - -Althea Campbell had heard rumors of the rainbow gardens, and that the -natives, by bathing in the radiation given off by the colored mists, -were able to restore youth and vigor for long periods of time. She had -seen the chance of restoring her own body to its youthful bloom and of -working the miracle that she had sought for so many years on half a -dozen planets. She had sought out Marjud, who alone had contacts that -could get them into the forbidden area. - -"I still don't get it," I said. "Where is she now, and why has she got -you locked in here?" - -"I was afraid after we arrived, and I didn't want to do it. She said we -had to take off our clothes and go with the priests into the rainbow -garden. I refused, and she slapped me and said that I was impertinent -and ungrateful. I threatened to run away and tell the authorities, so -they locked me in here. - -"The she-devil!" I said. - -"Oh, she's really not so bad," said Sukey, forgivingly. "It's just that -she's a little mad when it comes to being young and beautiful. She was -forever talking about the way her arms and legs looked, and all, and -crying, and bawling me out." - -"Come on," I said. "Let's find Harry and get out of here." - -Her lip quivered. "H-Harry? Is he here too?" - -"Somewhere," I said, trying to frown at her, and not succeeding, "and -worried to death. If I was him I would skin you alive." - -"I just wanted a chance to come to Venus. That's why I took the job as -maid to Mrs. Campbell. I knew that she was tremendously wealthy and -came to Venus every year to the beauty culturists." - -I didn't press the subject. The sky over Venus hadn't faded her -complexion much, luckily. - -It was still fine, even if she did look a little beat. - -We went out into the hallway and I yelled for Harry. He answered. He -seemed to be outside. - -I looked out one of the ventilation slits. He was standing out there -with his back to me, looking into the rainbow garden. The mists were -rising in wispy colors here and there, and I could tell without looking -at my chrono that the long Venusian night was approaching, for the -distorted shapes of the trees were vague, and could no longer be seen -more than a few yards away. - -"Up here!" I said. And he looked up. - -He pointed to the garden. "Thought I heard somebody calling out there," -he said, pointing. - -"Don't go away," I said. "And don't go in there, whatever you do. I'll -be right out." - -I grabbed Sukey's arm. "We'll surprise him," I told her. - - * * * * * - -Sukey Jones came up from behind Harry and put her hand on his arm. -He turned and they just looked at each other for the space of half a -minute. - -Harry's voice was kind of choked. He said, "Sukey, I--" - -And then we all heard it. It was a woman crying. The sound came from -the garden. Harry took a step toward the mists. - -"Wait," I said. And I shouted, "Mrs. Campbell, is that you?" - -"Here!" Her voice was faint and plaintive. Just as I had remembered it. - -"Come on out. We've come to take you home." - -"I--I can't." - -"How long has she been in there?" I asked Sukey. "Do you know?" - -"All of the time, I suppose." - -I shook my head. "It's risky business, but we can't leave her, I -suppose. I'll go in." - -"I can't let you do that," Harry said. "I'm the logical one to go. -Listen!" We could hear her crying. A vexed, lost-little-girl sound. - -I shoved Harry aside. "You don't know what you're getting into," I -said. "Take Sukey, and--" - -That was the first and only time that Harry ever swung at me. The first -thing I knew, I was sitting on the ground with my head spinning. - -Harry was looking down at me and grinning sardonically. "I hated to do -that, Chuck," he said, "but you see, it has to be me that goes after -her." - -He turned and took both of Sukey's thin shoulders in his hands. He -couldn't speak for a while. His eyes were talking, though; saying -they were awfully sorry. And then he took a couple of steps into that -colored mist before he stopped and looked back. - -He was still smiling, but it was a secret smile. He said, "It's too -bad, Sukey, but you know, eighteen million bucks are eighteen million -bucks." - -"What the--?" I said. - -"Harry, darling, is that you?" The voice of Mrs. Campbell was closer -now. - -"Coming, Althea dear!" he said, and laughed at me. "Do you suppose I -_wasted_ all those Thursdays, Chuck?" he said. "'Bye. Take care of -Sukey for me. Althea and I'll be along later." - -He turned his back on us and went deeper into the mists, calling her -name, spreading the bushes with his hands and trying to see her. - -He was hazy now, hardly visible. - -But I saw Althea Campbell just an instant before he did. She came out -of the rainbow mist from behind him, and her now-blonde hair glimmered -with reds and greens, and blues and gold and purple. Her naked body -was snow white. She had got her money's worth, I suppose. Marjud had -promised her that pale complexion. - -And the curious radiations had given her smooth legs and arms that were -pearl-white and long, and supple, and graceful. - -She came from behind Harry and put her arms around him. - -All of them. - - - - - -End of the Project Gutenberg EBook of Color Blind, by Charles A. Stearns - -*** END OF THIS PROJECT GUTENBERG EBOOK COLOR BLIND *** - -***** This file should be named 63683.txt or 63683.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/6/8/63683/ - -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 print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-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 in the United States with eBooks -not protected by U.S. copyright law. 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 -www.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 unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-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 in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-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 The -Project Gutenberg Trademark LLC, 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 -works not protected by U.S. copyright law 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 information page at -www.gutenberg.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. 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 in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -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: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty 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 not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: 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/63683.zip b/old/63683.zip Binary files differdeleted file mode 100644 index 69eb366..0000000 --- a/old/63683.zip +++ /dev/null |
