Initial commit

10 files changed, 3405 insertions, 0 deletions

diff --git a/68418-0.txt b/68418-0.txt
new file mode 100644
index 0000000..04692ae
--- /dev/null
+++ b/68418-0.txt
@@ -0,0 +1,1595 @@
+The Project Gutenberg eBook of Problem in solid, by George O. Smith

+

+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

+will have to check the laws of the country where you are located before

+using this eBook.

+

+Title: Problem in solid

+

+Author: George O. Smith

+

+Release Date: June 28, 2022 [eBook #68418]

+

+Language: English

+

+Produced by: Greg Weeks, Mary Meehan and the Online Distributed

+             Proofreading Team at http://www.pgdp.net

+

+*** START OF THE PROJECT GUTENBERG EBOOK PROBLEM IN SOLID ***

+

+

+

+

+

+                           PROBLEM IN SOLID

+

+                          BY GEORGE O. SMITH

+

+                         Illustrated by Orban

+

+           [Transcriber's Note: This etext was produced from

+               Astounding Science-Fiction, October 1947.

+         Extensive research did not uncover any evidence that

+         the U.S. copyright on this publication was renewed.]

+

+

+Martin Hammer should have been prepared for anything. As the world's

+foremost producer of motion pictures, he should have taken any

+situation from earthquake to fatherhood without a qualm or a turned

+eyebrow. But Hammer had not seen everything--yet.

+

+A noise presented itself at Hammer's office door. Not the noise of

+knocking or tapping, nor even the racket made by attempts to breach

+the portal with a heavy blunt instrument. It was more like the sound

+of a dentist's drill working on wood, or perhaps one of those light

+burring tools, or maybe even a light scroll saw.

+

+Then, with all the assurance in the world, a man's hand came through

+the door, the fingers clenched about an imaginary doorknob. The hand

+swung an imaginary door aside and as it moved, the wood of the real

+door fell to the floor in a pile of finely-ground sawdust.

+

+Once the imaginary door was thrust aside, the rest of the intruder

+entered, leaving the exact outline of his silhouette in the door.

+

+He smiled affably and said, "I trust I'm not intruding!"

+

+He was still holding the imaginary door open with his right hand. As

+he finished speaking, he stepped forward a step, turned, pulled the

+imaginary door shut a few inches, transferred it to take the inside

+knob in his left hand, and then stepping carefully forward, he thrust

+the imaginary door closed, his hand clenched around the imaginary knob.

+The act ended as his hand entered the real doorknob and there was the

+high-pitch whine of metal against metal like cutting a tin can with a

+bandsaw.

+

+The intruder turned, walked across the office, and stood there in front

+of Martin Hammer. From a pocket he look a cigarette and a match and lit

+up, blowing a cloud of fragrant smoke into the air.

+

+"I am delighted to meet you," he said.

+

+At which point, Martin Hammer blew up.

+

+He had been patient. He had been astounded. He had been sitting there

+with his chin getting lower and lower and lower as this ... this

+character walked through his door with all the assurance in the world.

+Then the bird had the affrontery to behave as though he had not invaded

+Hammer's office; had not ruined a fine oak door; and as though Hammer

+should have been glad to see him.

+

+What added fuel to Hammer's explosion was the fact that the intruder

+seemed absolutely unaware of the ruination of the door.

+

+"What the--" yelled Hammer. He leaped to his feet, ran around his desk,

+and faced the intruder angrily for only an instant.

+

+Hammer launched himself at the intruder with intent to do bodily harm,

+mayhem, and perhaps a little bit of second-degree murder that might be

+juried into justifiable homicide.

+

+He did not connect. The stranger disappeared at that instant, and

+Hammer's well directed blow fell upon thin air. Hammer, finding no

+resistance before him, fell flat on his face, which mashed the cigar

+into his mouth and burned a hole in his fine Persian carpet. He turned

+over and sat up, spitting out bits of tobacco mixed with equal parts of

+very bad language. Blankly he ran his hand through the spot where the

+stranger had been.

+

+"Now," he said in puzzlement, "what in the name of--"

+

+"May I apologize?" came a voice at the door. Hammer whirled and saw the

+intruder again, standing there with a rather dumfounded expression on

+his face.

+

+Hammer grunted. At least he is now cognizant of his ruin-production,

+he thought. This was true. The intruder no longer had that fatuous

+expression that ignored the damage.

+

+"Apologize?" exploded Hammer.

+

+The intruder stepped through the ruined door. "I got the focus wrong,"

+he said, "otherwise the image could have--"

+

+"Image?" yelled Hammer.

+

+The stranger nodded. "Image," he said. "Look, Hammer, you don't really

+think that I actually walked through that door, across your office

+floor, and then disappeared into thin air, do you?"

+

+"Well ... and who are you?"

+

+"My name is Tim Woodart. I'm an engineer."

+

+"Look," said Hammer shakily, "I'd like to know what's been going on. As

+a producer of motion pictures, I am beginning to see the glimmerings of

+a fine idea. I sort of resent the destruction you've created, but it

+certainly carried off its point."

+

+"I'll bring in the gear, too," said Woodart. "If you don't mind."

+

+Hammer nodded. Whatever it was, Martin Hammer had just had his door

+broken in by the first of all true three-dimensional photography!

+

+       *       *       *       *       *

+

+Harry Foster stood on a lonely stage and smiled at some mythical point

+in the mid distance. Dramatically he pointed, and as he pointed, across

+his face there came a change over his features. Normally handsome,

+Harry Foster's "bad" face was thrice as bad for the distortion into

+hatred. It was excellent acting.

+

+The man beside the camera nodded. It was not only excellent acting but

+it was rather emotionally troublesome to be confronted by a living,

+breathing image of yourself. You, watching you do something that you

+had done previously.

+

+Harry Foster's hand stole up alongside of the cutoff button and he

+thrust it down viciously.

+

+The scene stopped instantly and disappeared.

+

+Foster, remaining beside the camera, swore. He rereeled manually a few

+yards and restarted the camera. He caught a previous scene's ending: a

+beautiful woman smiling shyly at another man. The scene's ending was

+brief, to a flash-over of Harry Foster standing in the center of the

+stage, and going through the same motions of smiling offstage, with the

+features changing from smile to scowl of hate.

+

+Again Foster's hand flipped the switch and the image of Foster

+disappeared as did the settings on the stage.

+

+Foster swore again. "There must be some way--How does he do this

+anyway?"

+

+Foster opened the cabinet-like side of the solid camera and looked at

+the circuits. They were enigma to Foster, but there was some logic to

+it--there must be. You create an image and then wipe it away to make

+place for the next image--just as in common cinema. But in normal

+cinema it is possible to halt the film and project a still. That's what

+Harry Foster wanted--

+

+He pulled a single tube from one circuit and snapped the camera on. The

+stage was blank. He replaced the tube and tried another tube removed

+by some distance from the first. He started the camera, and the stage

+flashed into being once and then went blank again. There was a tiny

+flash from the bottom panel of the machine and Foster looked down to

+see the indicator of a blown fuse.

+

+Foster nodded. Obvious. To stop the wipe-away would mean that the next

+frame would be placed on top of the first. A double exposure would

+not work in the solids. Not without repealing that law of nature that

+states that two things cannot occupy the same space at the same time.

+

+What he had to do was to stop the projector at the same time he stopped

+the wipe-away. Tim Woodart had fixed the machine so that the wipe-away

+completed the scene after stopping the works. Just a matter of safety.

+

+Foster puzzled over the machine and restarted it again. He waited until

+the image of Harry Foster stared off stage and then he grabbed two

+tubes and jerked them out simultaneously.

+

+The projector stopped; the scene remained. The image of Harry Foster

+stood there dumbly. Then it turned vaguely and looked at the camera and

+the man beside it.

+

+"Hello, hero," sneered Foster.

+

+The image blinked. "I've wondered what might happen," said the spurious

+Foster.

+

+"Yes," chuckled the real Foster, "we have, haven't we?"

+

+"I--," started the image, but he stopped and looked wildly around.

+"What do you want?"

+

+"You know."

+

+"I'll not do it! You ... we ... ah ... well, it's no go."

+

+The real Harry Foster sat down in the director's chair. "I've had more

+time to plan," he said. "You're just an image--"

+

+Foster snarled back, "Not now I'm not. I'm just as real as you are!"

+

+"I'm the original; you came out of that camera."

+

+"Someone is going to have a time proving it," replied the image Foster.

+

+"Yeah," drawled the real Foster, "that's what I'm counting on!"

+

+From within his coat, Foster took a revolver. Holding it on his image,

+Foster replaced the tube and watched the scene resume, with a third

+Foster going through its paces. He snapped off the camera and the set

+disappeared, leaving the bare stage. He wiped his fingerprints from the

+place and then nudged the image Foster with the revolver.

+

+"Out," he snapped, pointing with the gun barrel.

+

+They went--in a death march.

+

+A half hour later, the real Foster handed his image a drink. "Drink

+deeply," he said sarcastically. "You needn't be afraid to die--you

+never lived, you know."

+

+The image Foster shook his head. "I've been alive as you have!"

+

+The real Foster lifted his revolver and snarled: "We can put a stop

+to that!" He fired thrice and each shot slammed into Foster's stomach

+driving the man back against the wall. He crumpled, finally.

+

+Then Harry Foster took a look around the living room of his apartment,

+shrugged, and left, tossing the pistol into a corner.

+

+       *       *       *       *       *

+

+Lieutenant Miller looked down at the corpse. "Someone sure hated him,"

+he said.

+

+The man in the business suit nodded. "They had reason to," he said.

+He was Jacobson of the F.B.I. "Too bad. I'd rather he were legally

+punished."

+

+"Me, too."

+

+"What about his wife?"

+

+"She's in the next room. Which reminds me--"

+

+Lieutenant Miller went to the door and looked in quietly. "Look,

+fellows, just establish her. Don't bother grilling her."

+

+Sergeant Mullaney looked up in surprise. Miller nodded. "This is one

+case I'm not going to kill myself solving," he said. "I just want to be

+certain that the murderer of Harry Foster isn't as obvious as a stone

+pillar on the corner of Hollywood and Vine. Is Mrs. Foster clear?"

+

+Mullaney nodded. "Spending the whole evening with a friend."

+

+"Friend corroborate it?"

+

+Mrs. Foster smiled wanly. "She will if asked," she said.

+

+Miller nodded. "My only regret, Mrs. Foster, is that his insurance will

+just about cover his embezzlements. The rest--"

+

+"I wouldn't touch it--or him--with a ten-foot pole," she blazed.

+

+Jacobson met Miller at the door. "He got around," he said. "Blackmail,

+embezzlement, and outright larceny. There's been talk of drug-peddling

+and white slave traffic. Why or how the bird managed to be such a

+thorough stinker and still maintain his position here I'll never tell

+you."

+

+Miller looked at the coroner, who was just polishing up his job. Miller

+said, "Whoever did it did Foster a favor. Between you and me, we'd have

+had him between nutcrackers in another week."

+

+Jacobson nodded. "Couldn't have been suicide?"

+

+Miller shook his head. "After filling himself that full of lead, he was

+too dead to toss that gun. Furthermore, he was shot from greater than

+arm's distance. No," said Miller, "someone 'done him in' and should

+possibly be commended. Plain case of: 'Too bad, thank God!'"

+

+       *       *       *       *       *

+

+Martha Evers watched her image on the stage in the studio theater.

+Beside her was Martin Hammer who was watching the performance with

+interest. Martha was watching with wonder; Hammer had seen this thing

+at work before and was more concerned with the technical portions of

+the opus than the wonder of watching a life-sized, living, breathing,

+talking image perform.

+

+On the other side of Martha Evers was Tim Woodart, who was just

+watching. He was more or less out of a job since professional

+photographers had taken over the job of making the performance.

+

+"But how is it done?" she asked him.

+

+"Same like any other of its kind," smiled Tim.

+

+"But there isn't any other."

+

+"Television is, sort of," he said. "Anyway, there is a three-way scan

+taking in the volume to be reproduced. Each atom in the original

+has its own characteristic charge and mass: this charge and mass is

+registered. When the reproducer replaces the real people with the

+image, the same scan forms real atoms where the real atom was in the

+original. The follow-up scan wipes the atom clear to make room for the

+next frame."

+

+"How about this building atoms?" puzzled the girl. "Doesn't that make

+for radioactivity?"

+

+"Uh-huh," he said, "but the radioactivity is really energy that we use

+to operate the machine."

+

+The scene on the stage switched to a close-up of Martha and the

+picture's villain, one Jack Vanders whose leer was known across the

+continent.

+

+The woman on the other side of Tim Woodart stood up and called "Cut

+it!" in a low contralto.

+

+The stage cleared in a twinkle and the lights went up.

+

+Martin Hammer leaned across the seats and spoke to the standing woman.

+"What's wrong, Mrs. Foster?"

+

+"That won't do," she said. "Bad shot!"

+

+Hammer thought for a moment. "There's nothing wrong with a close-up,"

+he said. "It's done daily."

+

+Jenny Foster smiled. "Yes," she agreed, "the screen fills up from top

+to bottom with the face, and the eyes look softly into the camera lens

+as the girl murmurs, 'I love you' and it is effective because in the

+two-dimensional cinema, the trick of looking into the camera lens makes

+it appear as though the girl were gazing softly into your own eyes--no

+matter where you are in the theater. But this is solid, Hammer. When

+the gal looks at you, I can tell that she's looking at you from here."

+

+"So?"

+

+"So I'm resentful of the guy who has the preferred seat," she said.

+

+Martin Hammer smiled. "You can't have all the seats in the theater

+within a two-foot circle," he said. "But there must be some way to lick

+it."

+

+"You'll remember what I had to say?" she asked.

+

+Hammer nodded. "We'll work on it," he said. "Like all other media,

+solid performances require their own techniques. But until we locate

+the techniques, people will take to solids for their novelty."

+

+They all sat down. Mrs. Foster turned to Tim Woodart and asked him how

+it was done.

+

+"You mean the whole thing?"

+

+"No, the job of making enlargements."

+

+"Easy," he said. "We just have a repeat-scan that repeats the same

+atom in between true signals. Same like cramming a whole twelve-story

+building on a busy street. We cut out certain patterns--sometimes every

+other signal, sometimes every third, sometimes four out of five are

+eliminated in the recording. The number cut is a definite statement of

+the 'times-size' of the reproduction."

+

+"Sounds simple when you say it fast," she smiled.

+

+"I'll tell you about it later--?" he suggested.

+

+"I'd like that."

+

+He was too silent for a moment, and Jenny Foster knew it. "Tim," she

+said, "if you're worrying about the ... the--"

+

+"Well," he admitted slowly, "I was. Not that I care, but you--?"

+

+She smiled bitterly. "It's often said that no one knows another person

+until you've lived with them for some time. It was between our first

+meeting and three years after I married Harry Foster that I was his

+wife. That was when I found out about him. I--"

+

+"Look," said Tim, worriedly, "there's been something worrying me ever

+since we took these shots yesterday. Now I know what it is. Let's get

+out of here and I'll buy you a drink."

+

+"_Shhhhhh!_" insisted Hammer.

+

+"Stop it," returned Woodart.

+

+"Make notes," said Hammer. "I want to see these rushes to the close."

+

+"But--"

+

+"But nothing. Tell me later."

+

+"Let's go," said Tim plaintively.

+

+"It'll only be a minute. What are you worrying about?"

+

+Tim looked at the stage. This was a comic shot. In it, the head of

+the butler filled the stage and looked out at the audience through

+half-closed eyes. A middle distance shot previously had shown the

+butler taking a sniff of pepper, this was the aftermath--

+

+"No!" yelled Woodart.

+

+He was too late. His yell was covered by the explosive sneeze. A

+hurricane of wind blasted at the tiny theater. A window went out in

+back, and Martin Hammer's toupee left for Kansas.

+

+As the echoes died, Tim Woodart said, "That's what I meant."

+

+Hammer blinked. "I'd hate to pull an Alfred Hitchcock and have a .45

+pointed at the audience--close-up."

+

+Back of him, the photographer looked at the stage and made a quick

+estimate. "That," he said, "would hurl a nine-foot slug of lead at the

+audience!"

+

+Tim Woodart left quietly.

+

+       *       *       *       *       *

+

+Tim Woodart led Jenny Foster to a small table and ordered Martinis.

+Jenny smiled at him and said: "Tell me how you came to invent this

+thing?"

+

+"Easy," he grinned. "I'm an avid reader of science-fiction and there

+was a yarn in one of the leading magazines some time ago that dealt

+with a matter transmitter. Written by a crackpot electronics engineer

+by the name of George O. Smith. He was rather explicit in a vague sort

+of way, but it gave me the initial idea, and here we are with it!"

+

+She laughed. "Is this character going to get any royalty?"

+

+"Oh," said Tim Woodart expansively, "I offered him some, but he

+refused, saying that his idea was nothing but a fiction idea and that

+any bright engineer would know how to send matter by radio."

+

+"Oh."

+

+"Besides, he's in Philadelphia, now, and the men in the white coats

+wouldn't let him write with anything but a blunt crayon."

+

+"Well, could you send things by wire with it?"

+

+Tim smiled, "Not at present," he said. "There isn't a transmission

+line with a broad enough band-pass to accept the signal frequencies

+necessary."

+

+"Now," said Jenny, taking a sip of her Martini, "you're getting in way

+over my head."

+

+Tim Woodart pulled out pencil and paper, but Jenny stopped him by

+laying a gentle hand on his. "Don't," she said plaintively. "I don't

+even know what happens when I snap on the light switch, let alone

+understanding transmission lines."

+

+Uncertainly he replaced the pencil and paper in his pocket. Then he

+laughed. "Shall we dance?"

+

+"That," she told him, "I understand."

+

+They danced--and they danced well together. And while they were getting

+better acquainted, a hundred miles to the south a man was stopped by a

+motorcycle policeman for traveling too fast.

+

+"Name?" snapped the policeman.

+

+"Harold Farman."

+

+"Driver's license?"

+

+"Why ... er ... I--"

+

+"No license?"

+

+"Well, it's here. But--"

+

+The policeman nodded. "Gimme," he snapped.

+

+Harry Foster cursed himself for forgetting. For even trying to run

+under an assumed name without changing every bit of evidence. But the

+policeman looked rather rough, and Harry handed over the license.

+

+"This says 'Harry Foster'," grunted the cop.

+

+"I'm Harry Foster."

+

+"That wasn't the name you gave me," said the cop pointedly.

+

+"Look, officer, I'm about to meet a young lady--we're meeting at the

+Border to marry in Mexico. Her father objects, and he's influential

+enough to send out word that I'm to be picked up on some pretext and

+held. That's why."

+

+The officer nodded sensibly. "Sounds reasonable," he said, "and

+logical, and just about as silly as the usual guy who tried to elope."

+

+"Well--thanks, officer. And may I bet you fifty that today is Sunday?"

+

+"Today's Tuesday," replied the officer.

+

+"My goodness," said Foster in surprise. "I lose, don't I?" He handed

+the officer a folded fifty. The officer took it and smiled dryly.

+

+"You lose," he told Foster, "because so far as I know, there's a

+Lieutenant Miller of the Los Angeles police that has a dragnet out for

+Harry Foster--the motion picture hero!"

+

+"Now look--"

+

+"I've looked," said the cop, "and you're it. Will you come quietly or

+will you come horizontal?"

+

+Harry Foster laughed. "I'm not _that_ Harry Foster," he said.

+

+"No?"

+

+"No."

+

+"And how am I going to tell?"

+

+"Call Miller. I happen to know that the moving picture star died not

+more than a few days ago."

+

+"That," said the policeman, closing his book, "is something that we can

+check but quickly. You'll come along while we check it, though."

+

+"I'll come," said Foster cheerfully.

+

+He went. The policeman called. Miller gave him the right answer, that

+the wanted man, Harry Foster, had been buried within the week. No,

+there was no mistake. The dead man's identity had been established to

+the satisfaction of every interested agency. The F.B.I. and the local

+police had seen to it that the dental work checked, fingerprints,

+everything including visual identification by friends, enemies, wife,

+and business associates.

+

+Harry Foster left a short time later with an internal grin. He--was

+dead. Ergo--he could not be punished!

+

+He laughed wildly as he resumed his driving, but his driving was less

+wild. There was a thoughtful quality about it.

+

+At the Mexican Border, Harry Foster stopped for rest and while resting

+he read the newspaper. It carried the usual run of gossip columns, and

+in one of them Harry Foster saw--and read with growing interest:

+

+    The widow of Harry Foster, whose body was found on the evening

+    before the authorities were to have closed in on his nefarious

+    activities, is finding solace in the company of Tim Woodart, who

+    is the inventor of Hammer Productions' new play technique. No one

+    would deny Jenny Foster her right to happiness, and we'll cheer

+    her on--

+

+Foster crumpled the paper craftily. Woodart was about ready to start

+banking checks in six or seven figures, and--

+

+Harry Foster left the restaurant and headed back toward Hollywood.

+

+       *       *       *       *       *

+

+The locomotive thundered across the stage at a forty-five degree

+angle, filling the theater with a wave of heat and a puff of smoke and

+steam. Then it was past and gone, and its string of cars rumbled out

+of "offstage" to the right rear to the "offstage" at the left-front

+corner. It slowed and stopped, and the porter and passengers emerged;

+the principal players of the scene appeared and went through their

+action.

+

+"Now that," said Hammer, pleased, "is a right good scene."

+

+"Y'know," smiled Jenny Foster, "people are going to be so surprised to

+see the real thing come roaring across the stage that they're going to

+forget a couple of rather irrelevant items like having their heroine's

+head nineteen feet in diameter."

+

+"Yeah," drawled Hammer, "and tell the crook to shave closer. A close-up

+of Jack Vanders looks like a pincushion with telephone poles shoved in.

+Didn't know hair could be so big!"

+

+"What bothers me," smiled Martha Evers, "is where I drink that

+Manhattan in the close-up. Darned drink must be all of twenty-three

+gallons."

+

+"That isn't the main trouble with that scene," objected Vanders

+cheerfully. His saturnine face was only for selling purposes; a more

+pleasant villain was seldom to be found. "What bothers everybody is

+that you can smell the odor of that drink, it's so big. Half of the

+would-be sots in the audience are going to be as dry as the Sahara by

+the time Evers gets it down."

+

+Martha laughed, "Hammer is a great one for realism," she said, "but

+I hope he doesn't insist on a real slug of cyanide in the poisoning

+scene. I hate to think of twenty gallons of cyanide!"

+

+"No doubt," laughed Hammer. "But what we ought to do is to have Woodart

+fix up some way of stopping that thing during close-up. We could start

+with a normal Martini and end up with fifty gallons."

+

+Woodart shook his head. "Cost twenty times as much liquor itself," he

+said with a good-natured smile. "You see, the energy that keeps this

+thing in balance comes from the wipe-out of the previous scene. Stop it

+that way and your light bill heads for the ceiling."

+

+"O.K.--it was just an idea."

+

+Vanders faced the group. "Look," he said. "I'm a professional villain,

+and all villains are supposed to want something for nothing and finding

+out that it can't be did."

+

+Woodart agreed.

+

+Then the scene changed to an overhead shot of Cincinnati. Taken by

+helicopter, the scene was an angle shot down across Fountain Square

+towards the river. In the cinema such shots do not seem bizarre, but in

+solid, the street with its teeming cars and pedestrians was tilted at

+an angle: the angle between street and camera remained as it was, and

+the camera, of course, became the projector which was in the back of

+the theater.

+

+The "eye" zoomed down and the street grew in size until the fountain

+that gave the Square its name was in plain view. It seemed incongruous

+that the water in the fountain came out at an odd angle to gravity and

+fell back at another odd angle, yet this was not a running reproduction

+of Fountain Square but a swift series of instantaneous reproductions

+and the droplets of water like everything else was replaced in whatever

+relative position it was, regardless of the facts of true gravity.

+

+The scene tilted flat, finally, and traveled along the street on the

+level until the principal character was approached, whereupon the

+action began. The camera followed Jack Vanders into a bar where he met

+Martha Evers and ordered the Manhattan that was to become Gargantuan in

+size--

+

+       *       *       *       *       *

+

+Jenny Foster put her face up for a good night kiss, and then shoved her

+apartment door open as Tim turned to leave. Inside, the living room

+light was on, and Jenny instantly called Tim back.

+

+"Someone," she said, pointing to the lights.

+

+"O.K." he said, entering before her. Sprawled in Jenny's easy-chair

+was--

+

+"Foster!"

+

+"Who--me?" asked Foster in surprise. "Foster's dead."

+

+"Can it," snapped Woodart. "And talk!"

+

+"Or else?" drawled Foster indolently.

+

+"Or else," snarled Woodart.

+

+"Or else what?"

+

+Tim went to the telephone and dialed the number of the police force.

+

+"Don't bother," said Harry Foster. "I'm ... Foster, that is, is dead."

+

+Tim replaced the telephone. "What's the gag?" he demanded.

+

+"I," said Foster hollowly, "am a ghost returned to plague mine

+unfaithful wife."

+

+"The hereafter is going to have a moaning ghost with a shanty on its

+eye," said Woodart ominously. "Unfaithful wife my foot. If ever she--"

+

+"Now that's been the big bone of contention," smiled Foster. "Foster

+gave her no grounds, and she was too good to give me any. And Foster

+gave her none because it is still impossible to have a wife testify

+against her husband."

+

+"Very sly of you."

+

+"Of Foster."

+

+"You're Foster!"

+

+"Me? No. Foster's dead."

+

+Jenny gave a weak cry of despair. "What do you want?" she asked.

+

+"How much have you got?" asked Foster pointedly.

+

+"Blackmail," snarled Woodart.

+

+"Why no. Not at all."

+

+"You name it."

+

+"It need have no name. You see, Woodart, I've learned that I no

+longer need the protection of the legality that prevents a wife from

+testifying against her husband. Her husband is dead."

+

+"So?"

+

+"Well, it isn't blackmail to perform a service for someone."

+

+"Meaning?"

+

+"Divorce comes high," explained Foster pointedly.

+

+"After which--if done--you could continue to ask for more," said

+Woodart angrily. "You could threaten to prove that you were paid to get

+the divorce, a mere matter of blackening the character of a woman whose

+only error was being blind enough to take a second look at you."

+

+"Your ingenious mind is too complex," said Foster quietly.

+

+"May I point out that if you are dead, you are dead, and therefore--"

+

+Foster laughed nastily. "Legally and physically, Harry Foster died

+and was buried. Legally there is nothing that could possibly prevent

+you from marrying her if you wanted to. But you see, Woodart, my wife

+is a completely moral woman, to say nothing of ethical. Though it is

+legal, there is still the gnawing doubt in her that she is compounding

+a felony--bigamy."

+

+Jenny made a plaintive gesture, "I'll wait until he asks me--"

+

+But she was not heard. Tim Woodart snorted. "So you think they'll be

+hesitant about punishing a dead man?"

+

+"What do you think?"

+

+Woodart strode forward and took Foster by the lapels of his coat,

+gathered them into one hand, and lifted the crook out of the easy-chair

+with an angry shake. "Then they can't book me for assault and battery

+upon the person of a corpse," he gritted. His free hand came back and

+forth across Foster's face, driving the heel's head from side to side.

+Then Woodart shoved him back, letting go of the lapels and using that

+hand to bury itself to the wrist in Foster's midsection. As Foster

+folded forward, Tim straightened him up with an upward chop to the jaw.

+

+Foster crumpled, and Woodart lifted him by the collar and dragged him

+to the door, hurling him into the hallway. Foster turned, wiping blood

+from his face, and spat like an angry cat.

+

+"That'll cost you, punk," he snarled.

+

+Woodart laughed.

+

+"Laugh," leered Foster. "You can't bring suit for divorce against a

+dead man, either!"

+

+       *       *       *       *       *

+

+Harry Foster opened the door to his apartment and nodded quite

+genially. "Come in, gentlemen," he said overpolitely.

+

+State attorney Jones was less cordial, and Lieutenant Miller was harsh.

+

+"You're Harry Foster."

+

+"I am. Strange coincidence, isn't it?"

+

+"Coincidence my--"

+

+"Be careful," warned Foster. "You wouldn't want to insult a citizen,

+would you? It might go hard with you."

+

+"You're Harry Foster."

+

+"I am."

+

+"Then who was the man that was buried?"

+

+"That is the coincidence," said Foster sorrowfully. "He was another

+Harry Foster. I understand that he was a rascal and definitely needed

+killing."

+

+"Where were you when that deed was done?"

+

+"Me? Look, sir, am I under suspicion?"

+

+"Could be."

+

+"Then produce your warrant! I shall take no guff from you nor any of

+your ilk."

+

+"Take it easy," said Jones. "An innocent man has nothing to fear."

+

+"An innocent man," said Foster, "has plenty to fear. Scheming

+politicians and courts who like to see convictions. Also there is the

+protection of the Constitution of the United States that grants me the

+right to do as I please so long as I am lawful about it."

+

+"It also grants us the right to protect other people," said Lieutenant

+Miller. "As for a warrant, we have a search warrant--plus the fact that

+we know that murder was done in this apartment not more than two weeks

+ago."

+

+"You're in," said Foster. "And you may leave as soon as you can. I'll

+not detain you."

+

+"You know," said State attorney Jones, "this man answers the

+description of the man who is wanted for any number of assorted crimes

+from forgery to grand larceny. In every way he fills the bill. I think

+we will arrest you, Mr. Foster."

+

+"You'll be sorry. This is false arrest."

+

+"Indeed. In this country, all arrests are false arrests because it is

+a statement of intent that all men are innocent until proven guilty by

+a court of justice! Ergo, we take you into custody whether innocent

+or guilty and we will permit the judgment of the court to decide your

+status. Coming quietly--or would you prefer to resist arrest?"

+

+Lieutenant Miller looked eager. "Please resist," he said clenching his

+fist.

+

+"Unclench it," snapped Foster. "You touch me and I'll prove that you

+wantonly and brutally attacked an innocent victim without provocation."

+

+"I've provocation enough," snarled Miller. "My sister--"

+

+"Your sister suffered deeply at the hands of this blackguard Harry

+Foster," said Foster oilily. "But because he resembled me and wore my

+name is no logical nor lawful reason for identifying your hatred of him

+against me. That is a psychopathic failing, Lieutenant Miller."

+

+"I'd like to make a pathological mess out of you," snapped Miller.

+

+"Mr. Jones, you will remember that threat," said Foster. "As State

+attorney, it is your duty to protect the innocent."

+

+Jones closed his lips over hard teeth and said nothing. He would have

+enjoyed the job of protecting Foster against a hungry hyena.

+

+Foster went with them, but his manner was not that of a dangerous

+criminal who had been apprehended. It was that of a man who knows all

+the answers.

+

+       *       *       *       *       *

+

+"The defendant, Harry Foster, is charged with Murder in the First

+Degree," said State attorney Jones. "This is a strange case, gentlemen

+of the jury. It is without precedent, and, therefore, your action will

+establish a precedent. I charge you to consider not only the case at

+hand and to try it with the utmost regard to justice, but to remember,

+as you are considering the evidence to be presented, that this is but

+the first of many cases that will certainly follow. I--"

+

+"I object! The defendant is on trial, not the Judicial System of the

+United States!" shouted Defense attorney Cranshaw.

+

+Judge Carver said, "The objection is sustained. Strike that from the

+record."

+

+Jones turned to the Court. "Your Honor, I request that my statements

+about the establishment of precedent be retained."

+

+Carver nodded. "It is true that this case will establish a precedent.

+Yet the trial at hand is the only thing of importance."

+

+"I accept," replied Jones, and returned to the jury.

+

+"I will attempt to show that the defendant did produce a living

+duplicate of himself after which he killed the duplicate. I call for my

+first witness the inventor of the device, Timothy Woodart."

+

+Tim came to the stand and was sworn. There was considerable questioning

+to establish the qualifications of the witness, during which Cranshaw

+said to Foster: "This will be a thin case, Foster. Yet, if we can

+establish a reasonable doubt, the result will be an acquittal."

+

+"Thin nothing," laughed Foster. "Just tie 'em up as I told you!"

+

+"All right," replied Cranshaw uncertainly. "But it will be like arguing

+on one side for part of the time and then switching sides in the

+middle."

+

+"What do you care so long as we win?"

+

+"I don't," grinned Cranshaw. "Listen--Woodart is starting to give

+pertinent testimony."

+

+"Mr. Woodart," asked Jones, "is it possible for your device to be

+stopped at such a time as to leave a complete set?"

+

+"Yes," said Woodart.

+

+"And you've known this all along?"

+

+"Naturally. I invented it."

+

+"Then the device is essentially a duplicating device?"

+

+Woodart nodded. "It is, but like all such devices, it requires power.

+The laws of conservation of matter and energy make it impractical to

+produce a myriad of devices from a recording."

+

+"And why is the device practical for the production of panoramic

+entertainment?"

+

+"The initial power is expended in producing the first replica of the

+original scene," said Woodart, "after which, the scene is obliterated,

+which returns the power to the equipment for the construction of the

+next frame. Aside from the conversion losses and basic inefficiencies,

+the thing is then self-supporting."

+

+"In other words, if it takes a kilowatt to establish one frame, that

+kilowatt is returned to the equipment?"

+

+"Yes," said Woodart, "though the power is more on the order of a

+hundred thousand kilowatts."

+

+"As the main party involved with the equipment, it is your duty to see

+that it is kept in operating condition?"

+

+"Yes."

+

+"Then tell us, Mr. Woodart, at any time since the device was initiated

+has there been any expenditure of great power that was unaccounted for?"

+

+"There was."

+

+"And your analysis?"

+

+"On the night of May 18th the power demand meter showed the expenditure

+of seventy thousand kilowatts. It is my opinion that--"

+

+"I object! That is an opinion, not a fact!" exploded Cranshaw.

+

+Jones smiled. "Counsel will admit that it is the opinion of a very

+qualified man."

+

+"I want it understood that this testimony is but an opinion!"

+

+"Objection noted," said Judge Carver. "Proceed, Mr. Jones."

+

+Jones nodded at Woodart. Woodart continued--

+

+"My opinion is that during the night, someone established a single

+frame of the opus we were working on. Once this single frame was

+established, the person removed from the set one object, after which

+he wiped the stage clean, returning that to the equipment as power but

+without the object which accounts for seventy thousand kilowatts of

+energy."

+

+"Mr. Woodart, is there any correlation between this power and the

+Einstein Formula?"

+

+"No. The matter is not made--manufactured. It is converted. The energy

+represents the power required to carry the matter from a storage place

+to the stage. It is somewhat like lifting a weight to a certain height.

+There is no correlation between the foot-pounds of energy expended in

+such and the mass-energy of the stone. However, in lifting a stone,

+the energy expended in lift will be returned when the stone is let

+down--excepting that part which is removed from the total while the

+stone is held in midair."

+

+"Then it might be difficult for you to determine just what was removed

+from the set?"

+

+"It might be," said Woodart, looking hard at Harry Foster.

+

+"That is all, Mr. Woodart." To the jury, Jones said: "I think you will

+find that the testimony just given will prove that duplication is

+possible. My next witness will show just who was duplicated. I now call

+Lieutenant Miller to the stand."

+

+       *       *       *       *       *

+

+"Lieutenant Miller, when you came to the apartment of Harry Foster,

+what did you find?"

+

+"I found Harry Foster, dead of gunshot wounds."

+

+"And what else?"

+

+"A revolver."

+

+"And?"

+

+"The revolver was in a far corner of the room," said Miller. "The dead

+man could not have used it upon himself for numerous reasons, even

+though the only fingerprints on the weapon were unmistakably those

+of Harry Foster. One reason is the distance between the body and the

+weapon; the wounds produced instant death. Another reason is that

+the dead man's right hand was in his coat pocket--clenched around a

+duplicate of the revolver."

+

+"You can establish the authenticity of this?"

+

+"Both weapons had the same serial number. Both bore the same scars from

+use. Both weapons produced the same landmarks upon test bullets. Yet at

+that time only one weapon had been fired; the one tossed in the corner."

+

+"Your Honor, I enter as Exhibit A these weapons, duplicates of one

+another. They are definite proof that duplication of objects did take

+place."

+

+"Evidence accepted."

+

+"It will be noted that the serial number on these guns is registered in

+the name of Harry Foster. I will suggest no indictment at this time for

+the criminal act of having two weapons with the same serial number but

+I do suggest that it be remembered."

+

+He turned to Miller and said, "That is all."

+

+Cranshaw arose to cross-question. "Mr. Miller," he asked, "is there any

+way of telling which of those guns is the original and which is the

+duplicate. I assume that they are not _both_ duplicates."

+

+"Only the marking on the weapon that was fired after the killing."

+

+"But, Lieutenant Miller, this is not conclusive. Which weapon was used

+to kill the dead man--the original or the duplicate?"

+

+"I object. That is irrelevant, immaterial, and incompetent!"

+

+Cranshaw smiled deeply. "It is all three, Counsel. I want to know at

+this time who was the killer and who was the duplicate?"

+

+Miller shook his head. "Only he can answer that."

+

+"That is all," smiled Cranshaw.

+

+Jones called the defendant to the stand. "Mr. Foster, did you or did

+you not make a duplicate of yourself?"

+

+"Objection. The question is an obvious attempt to incriminate the

+witness!"

+

+"Sustained!"

+

+"I merely wish to establish the identity of the witness."

+

+"Then do it without asking him leading questions."

+

+Jones faced Cranshaw angrily. "How can I?" he stormed angrily. "His

+name, his measurements, his fingerprints, his ... everything is

+identical to that of the slain."

+

+"Inconveniently coincidental," smiled Cranshaw.

+

+"Mr. Foster," said Jones quietly, "upon the night of May 18th, was

+there a duplicate human being made?"

+

+Foster nodded in a superior fashion.

+

+"And are you the duplicate or the--"

+

+"Objection!"

+

+"Sustained!"

+

+"That is all, Mr. Foster," replied Jones angrily. He turned to the jury

+and smiled. "My points are simple but clear," he said. "Circumstantial

+evidence it may be, but a more profound interlock of such evidence is

+seldom found. One: There was a duplicate made. Two, a man was killed

+by a weapon belonging to Harry Foster, in Harry Foster's apartment,

+and all evidence fails to show the occupancy of any other human being.

+Three, the defendant admits that there was duplication made but makes

+attempt to confuse the Court by denying to answer whether he is

+original or duplicate! This is an admission that he was the duplicate

+made--or that he was the original. No denial is made of this. Since

+it is impossible by any ordinary means to distinguish one Harry

+Foster--defendant--from the other Harry Foster--victim--a sentence of

+death is indicated for Harry Foster, the defendant, since the killing

+conveniently made the only distinction."

+

+Cranshaw arose with a stretch and a smile. "First," he said sincerely,

+"I want to clear my client of other charges against him. Your Honor,

+and Counsel for the Prosecution, will you admit as evidence the

+statements made by relatives, and other competent authorities to the

+effect that the dead man was the Harry Foster who was wanted for crimes

+of various nature?"

+

+"I object!" exploded Jones. "If any duplication was made, then the

+duplicate is equally guilty!"

+

+"All right," said Cranshaw. "Let it pass." He faced the jury with a

+persecuted air. "Anything to make life difficult," he laughed.

+

+"Now," he said, "may I enter as evidence the suit that the slain man

+was wearing? It is--or was--identical to that which my client is

+wearing now. At the present time," he said with a smile, "the client's

+suit is a little more worn, though in better condition due to the holes

+in this one. Now, for my first witness I call Dr. Lewis."

+

+       *       *       *       *       *

+

+"Dr. Lewis, have you ever considered the being of a duplicate?"

+

+"Not until recently," smiled the doctor.

+

+"You are a competent psychiatrist. Can you tell us the

+responsibility-quotient of a man kept in a state of suspended

+animation until he was thirty-three years old?"

+

+"He would have little or no sense of responsibility at all."

+

+"Would you say then that a duplicate of any human being was responsible

+for the acts of the original?"

+

+"I would hate to ponder the question," replied the psychiatrist. "It

+would depend entirely upon the degree of duplication. Yet it seems to

+run against the grain to make a duplicate responsible for the acts of

+the original when up to this time the duplicate had no true identity."

+

+"You assume the duplicate would have an identity?"

+

+"If the duplicate is capable of original thought, he has."

+

+"Yet, Dr. Lewis, what comprises identity?"

+

+"The ego is a rather deep subject," replied the doctor thoughtfully.

+"The question 'What is this that am I?' is one pondered for many

+thousands of years. It is still without answer--though it is generally

+accepted that a man is what he is because of his lifetime of

+experiences."

+

+"Will you expand upon that, doctor?"

+

+The doctor nodded. "A new-born babe has little true identity or

+individuality. That is because his only experience is almost congruent

+with all other new-born babes. As he lives, his experiences will differ

+because of environment and heredity from others--in the case of twins

+this is true despite the idea that the environment and heredity is

+identical. It is not. The environment of Twin A includes the life of

+Twin B, and vice versa. Therefore each twin must evolve a different

+identity. As a man grows and enjoys experience, each factor changes his

+personality in some way major or minor, and he emerges a true identity,

+which, however, is different in some minor way from day to day as his

+experiences accumulate."

+

+"Then at the instant of duplication, the two persons have approximately

+the same identity?"

+

+"Yes save for the single fact that one has just been in the process

+of formation whilst the other was in the process of being recorded. I

+assume that the two processes are not identical."

+

+"Then," said Cranshaw, facing the jury, "may I point out that no

+identity was really removed from the face of this earth by this

+so-called killing. But one birth certificate was issued for Harry

+Foster. But one Harry Foster lived and grew and became the Harry Foster

+that many people knew as a motion picture star. A duplicate Harry

+Foster was made, and then eliminated. Harry Foster was killed--and yet

+Harry Foster remains! If the law states a life for a life, we have it

+in the person of the living Harry Foster! He--killed himself."

+

+Cranshaw smiled indulgently. "There are laws concerning suicide," he

+said. "These laws make suicide a felony. Because of this there have

+been many jokes made about the penalty for suicide, but there is

+good reason for such laws. You see, Gentlemen of the Jury, it is not

+necessary to wait until the burglar emerges from the bank with his

+coat pockets bulging to arrest him. You may apprehend him while he is

+drilling his way into the bank for the crime of Attempting To Compound

+A Felony. An attempt at suicide is, then, an attempt to compound

+a felony and the would-be suicide may be apprehended for his own

+protection. Since the penalties for attempted suicide usually consist

+of compelling the miscreant to undergo psychiatric treatment to remove

+the obvious mental unrest that gave him the will to self-destruction,

+I suggest that my client be given the same treatment for the crime of

+suicide."

+

+He sat down. "Now," he said with a smile, "that should hang that jury

+higher than a kite. What is the penalty for successful suicide? Not

+execution--"

+

+"Shut up," snapped Foster.

+

+       *       *       *       *       *

+

+The jury returned after many hours, and the foreman arose. "Your Honor,

+we have deliberated this case and find that our decision requires

+explanation. Suicide we reason, is self-murder. Since suicide requires

+a certain amount of planning and contemplation, we find the defendant

+guilty on all charges including Murder in the First Degree!"

+

+The roar of the spectators covered up the judge's words, but Harry

+Foster heard him pronounce the fatal words.

+

+Tim Woodart turned the key in Jenny Foster's apartment, shoved the door

+open and stood aside to let her enter. Once in the dim living room, she

+turned and buried her head in Tim's shoulder.

+

+He held her close and stroked her head with one hand. Over her head

+he saw the clock on the wall, it registered midnight. "Easy," he said

+softly. "It's all--over."

+

+She nodded, too filled with emotion and relief to speak.

+

+Then as the sweep-hand crept past the instant of midnight, a sardonic

+voice came from the easy-chair.

+

+"A very pretty scene."

+

+Jenny whirled, her face white. "Harry!" she said with a quavering voice.

+

+As Tim faced Foster he asked Jenny to call Lieutenant Miller.

+

+Foster laughed again. "Call him," he jeered. "And remember that the Law

+of the Land makes it impossible for me to be placed in double jeopardy!"

+

+"What's been done before can be done again," said Tim.

+

+"Uh-huh," laughed Foster. "But not punishment. The Law, yer know.

+

+"You see," jeered Foster, "knowing that I am going on and on and on, I

+merely had Cranshaw make another duplicate of me. Now no one can touch

+me!"

+

+Jenny turned from the telephone and Tim put an arm about her and led

+her from the apartment. He left the door open--

+

+"There he is," said Tim, outside. "And you know what he has in mind."

+

+Harry Foster nodded, took out his revolver, and charged in. The quiet

+apartment was filled with the sudden racket of gunfire, quickly there;

+quickly stopped.

+

+"Let Miller clean up," said Tim harshly.

+

+"But--?"

+

+"They're equally fast and they're equally forewarned. Tough guy--it

+took four of him to get rid of him."

+

+

+                               THE END

+

+*** END OF THE PROJECT GUTENBERG EBOOK PROBLEM IN SOLID ***

+

+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 an eBook, except by following

+the terms of the trademark license, including paying royalties for use

+of the Project Gutenberg trademark. If you do not charge anything for

+copies of this eBook, complying with the trademark license is very

+easy. You may use this eBook for nearly any purpose such as creation

+of derivative works, reports, performances and research. Project

+Gutenberg eBooks 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 other than 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 will 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 website

+(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 the Project Gutenberg Literary Archive Foundation, the manager 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 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 website

+and official page at www.gutenberg.org/contact

+

+Section 4. Information about Donations to the Project Gutenberg

+Literary Archive Foundation

+

+Project Gutenberg-tm depends upon and cannot survive without

+widespread 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 website which has the main PG search

+facility: www.gutenberg.org

+

+This website 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/68418-0.zip b/68418-0.zip
new file mode 100644
index 0000000..c9c683a
--- /dev/null
+++ b/68418-0.zip
diff --git a/68418-h.zip b/68418-h.zip
new file mode 100644
index 0000000..2e16d92
--- /dev/null
+++ b/68418-h.zip
diff --git a/68418-h/68418-h.htm b/68418-h/68418-h.htm
new file mode 100644
index 0000000..e3c0a94
--- /dev/null
+++ b/68418-h/68418-h.htm
@@ -0,0 +1,1810 @@
+<!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 Problem in Solid, by George O. Smith.

+    </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;

+}

+

+.blockquot {

+    margin-left: 5%;

+    margin-right: 10%;

+}

+

+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: .67em auto; }

+

+

+    </style>

+  </head>

+<body>

+<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Problem in solid, by George O. Smith</p>

+<div style='display:block; margin:1em 0'>

+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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you

+are not located in the United States, you will have to check the laws of the

+country where you are located before using this eBook.

+</div>

+

+<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Problem in solid</p>

+<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: George O. Smith</p>

+<p style='display:block; text-indent:0; margin:1em 0'>Release Date: June 28, 2022 [eBook #68418]</p>

+<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>

+  <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net</p>

+<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK PROBLEM IN SOLID ***</div>

+

+<div class="titlepage">

+

+<h1>PROBLEM IN SOLID</h1>

+

+<p>BY GEORGE O. SMITH</p>

+

+<p>Illustrated by Orban</p>

+

+<p>[Transcriber's Note: This etext was produced from<br />

+Astounding Science-Fiction, October 1947.<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>Martin Hammer should have been prepared for anything. As the world's

+foremost producer of motion pictures, he should have taken any

+situation from earthquake to fatherhood without a qualm or a turned

+eyebrow. But Hammer had not seen everything&mdash;yet.</p>

+

+<p>A noise presented itself at Hammer's office door. Not the noise of

+knocking or tapping, nor even the racket made by attempts to breach

+the portal with a heavy blunt instrument. It was more like the sound

+of a dentist's drill working on wood, or perhaps one of those light

+burring tools, or maybe even a light scroll saw.</p>

+

+<p>Then, with all the assurance in the world, a man's hand came through

+the door, the fingers clenched about an imaginary doorknob. The hand

+swung an imaginary door aside and as it moved, the wood of the real

+door fell to the floor in a pile of finely-ground sawdust.</p>

+

+<p>Once the imaginary door was thrust aside, the rest of the intruder

+entered, leaving the exact outline of his silhouette in the door.</p>

+

+<hr class="chap" />

+

+<div class="figcenter">

+  <img src="images/illus1.jpg" alt=""/>

+</div>

+

+<hr class="chap" />

+

+

+<p>He smiled affably and said, "I trust I'm not intruding!"</p>

+

+<p>He was still holding the imaginary door open with his right hand. As

+he finished speaking, he stepped forward a step, turned, pulled the

+imaginary door shut a few inches, transferred it to take the inside

+knob in his left hand, and then stepping carefully forward, he thrust

+the imaginary door closed, his hand clenched around the imaginary knob.

+The act ended as his hand entered the real doorknob and there was the

+high-pitch whine of metal against metal like cutting a tin can with a

+bandsaw.</p>

+

+<p>The intruder turned, walked across the office, and stood there in front

+of Martin Hammer. From a pocket he look a cigarette and a match and lit

+up, blowing a cloud of fragrant smoke into the air.</p>

+

+<p>"I am delighted to meet you," he said.</p>

+

+<p>At which point, Martin Hammer blew up.</p>

+

+<p>He had been patient. He had been astounded. He had been sitting there

+with his chin getting lower and lower and lower as this ... this

+character walked through his door with all the assurance in the world.

+Then the bird had the affrontery to behave as though he had not invaded

+Hammer's office; had not ruined a fine oak door; and as though Hammer

+should have been glad to see him.</p>

+

+<p>What added fuel to Hammer's explosion was the fact that the intruder

+seemed absolutely unaware of the ruination of the door.</p>

+

+<p>"What the&mdash;" yelled Hammer. He leaped to his feet, ran around his desk,

+and faced the intruder angrily for only an instant.</p>

+

+<p>Hammer launched himself at the intruder with intent to do bodily harm,

+mayhem, and perhaps a little bit of second-degree murder that might be

+juried into justifiable homicide.</p>

+

+<p>He did not connect. The stranger disappeared at that instant, and

+Hammer's well directed blow fell upon thin air. Hammer, finding no

+resistance before him, fell flat on his face, which mashed the cigar

+into his mouth and burned a hole in his fine Persian carpet. He turned

+over and sat up, spitting out bits of tobacco mixed with equal parts of

+very bad language. Blankly he ran his hand through the spot where the

+stranger had been.</p>

+

+<p>"Now," he said in puzzlement, "what in the name of&mdash;"</p>

+

+<p>"May I apologize?" came a voice at the door. Hammer whirled and saw the

+intruder again, standing there with a rather dumfounded expression on

+his face.</p>

+

+<p>Hammer grunted. At least he is now cognizant of his ruin-production,

+he thought. This was true. The intruder no longer had that fatuous

+expression that ignored the damage.</p>

+

+<p>"Apologize?" exploded Hammer.</p>

+

+<p>The intruder stepped through the ruined door. "I got the focus wrong,"

+he said, "otherwise the image could have&mdash;"</p>

+

+<p>"Image?" yelled Hammer.</p>

+

+<p>The stranger nodded. "Image," he said. "Look, Hammer, you don't really

+think that I actually walked through that door, across your office

+floor, and then disappeared into thin air, do you?"</p>

+

+<p>"Well ... and who are you?"</p>

+

+<p>"My name is Tim Woodart. I'm an engineer."</p>

+

+<p>"Look," said Hammer shakily, "I'd like to know what's been going on. As

+a producer of motion pictures, I am beginning to see the glimmerings of

+a fine idea. I sort of resent the destruction you've created, but it

+certainly carried off its point."</p>

+

+<p>"I'll bring in the gear, too," said Woodart. "If you don't mind."</p>

+

+<p>Hammer nodded. Whatever it was, Martin Hammer had just had his door

+broken in by the first of all true three-dimensional photography!</p>

+

+<hr class="tb" />

+

+<p>Harry Foster stood on a lonely stage and smiled at some mythical point

+in the mid distance. Dramatically he pointed, and as he pointed, across

+his face there came a change over his features. Normally handsome,

+Harry Foster's "bad" face was thrice as bad for the distortion into

+hatred. It was excellent acting.</p>

+

+<p>The man beside the camera nodded. It was not only excellent acting but

+it was rather emotionally troublesome to be confronted by a living,

+breathing image of yourself. You, watching you do something that you

+had done previously.</p>

+

+<hr class="chap" />

+

+<div class="figcenter">

+  <img src="images/illus2.jpg" alt=""/>

+</div>

+

+<hr class="chap" />

+

+

+<p>Harry Foster's hand stole up alongside of the cutoff button and he

+thrust it down viciously.</p>

+

+<p>The scene stopped instantly and disappeared.</p>

+

+<p>Foster, remaining beside the camera, swore. He rereeled manually a few

+yards and restarted the camera. He caught a previous scene's ending: a

+beautiful woman smiling shyly at another man. The scene's ending was

+brief, to a flash-over of Harry Foster standing in the center of the

+stage, and going through the same motions of smiling offstage, with the

+features changing from smile to scowl of hate.</p>

+

+<p>Again Foster's hand flipped the switch and the image of Foster

+disappeared as did the settings on the stage.</p>

+

+<p>Foster swore again. "There must be some way&mdash;How does he do this

+anyway?"</p>

+

+<p>Foster opened the cabinet-like side of the solid camera and looked at

+the circuits. They were enigma to Foster, but there was some logic to

+it&mdash;there must be. You create an image and then wipe it away to make

+place for the next image&mdash;just as in common cinema. But in normal

+cinema it is possible to halt the film and project a still. That's what

+Harry Foster wanted&mdash;</p>

+

+<p>He pulled a single tube from one circuit and snapped the camera on. The

+stage was blank. He replaced the tube and tried another tube removed

+by some distance from the first. He started the camera, and the stage

+flashed into being once and then went blank again. There was a tiny

+flash from the bottom panel of the machine and Foster looked down to

+see the indicator of a blown fuse.</p>

+

+<p>Foster nodded. Obvious. To stop the wipe-away would mean that the next

+frame would be placed on top of the first. A double exposure would

+not work in the solids. Not without repealing that law of nature that

+states that two things cannot occupy the same space at the same time.</p>

+

+<p>What he had to do was to stop the projector at the same time he stopped

+the wipe-away. Tim Woodart had fixed the machine so that the wipe-away

+completed the scene after stopping the works. Just a matter of safety.</p>

+

+<p>Foster puzzled over the machine and restarted it again. He waited until

+the image of Harry Foster stared off stage and then he grabbed two

+tubes and jerked them out simultaneously.</p>

+

+<p>The projector stopped; the scene remained. The image of Harry Foster

+stood there dumbly. Then it turned vaguely and looked at the camera and

+the man beside it.</p>

+

+<p>"Hello, hero," sneered Foster.</p>

+

+<p>The image blinked. "I've wondered what might happen," said the spurious

+Foster.</p>

+

+<p>"Yes," chuckled the real Foster, "we have, haven't we?"</p>

+

+<p>"I&mdash;," started the image, but he stopped and looked wildly around.

+"What do you want?"</p>

+

+<p>"You know."</p>

+

+<p>"I'll not do it! You ... we ... ah ... well, it's no go."</p>

+

+<p>The real Harry Foster sat down in the director's chair. "I've had more

+time to plan," he said. "You're just an image&mdash;"</p>

+

+<p>Foster snarled back, "Not now I'm not. I'm just as real as you are!"</p>

+

+<p>"I'm the original; you came out of that camera."</p>

+

+<p>"Someone is going to have a time proving it," replied the image Foster.</p>

+

+<p>"Yeah," drawled the real Foster, "that's what I'm counting on!"</p>

+

+<p>From within his coat, Foster took a revolver. Holding it on his image,

+Foster replaced the tube and watched the scene resume, with a third

+Foster going through its paces. He snapped off the camera and the set

+disappeared, leaving the bare stage. He wiped his fingerprints from the

+place and then nudged the image Foster with the revolver.</p>

+

+<p>"Out," he snapped, pointing with the gun barrel.</p>

+

+<p>They went&mdash;in a death march.</p>

+

+<p>A half hour later, the real Foster handed his image a drink. "Drink

+deeply," he said sarcastically. "You needn't be afraid to die&mdash;you

+never lived, you know."</p>

+

+<p>The image Foster shook his head. "I've been alive as you have!"</p>

+

+<p>The real Foster lifted his revolver and snarled: "We can put a stop

+to that!" He fired thrice and each shot slammed into Foster's stomach

+driving the man back against the wall. He crumpled, finally.</p>

+

+<p>Then Harry Foster took a look around the living room of his apartment,

+shrugged, and left, tossing the pistol into a corner.</p>

+

+<hr class="tb" />

+

+<p>Lieutenant Miller looked down at the corpse. "Someone sure hated him,"

+he said.</p>

+

+<p>The man in the business suit nodded. "They had reason to," he said.

+He was Jacobson of the F.B.I. "Too bad. I'd rather he were legally

+punished."</p>

+

+<p>"Me, too."</p>

+

+<p>"What about his wife?"</p>

+

+<p>"She's in the next room. Which reminds me&mdash;"</p>

+

+<p>Lieutenant Miller went to the door and looked in quietly. "Look,

+fellows, just establish her. Don't bother grilling her."</p>

+

+<p>Sergeant Mullaney looked up in surprise. Miller nodded. "This is one

+case I'm not going to kill myself solving," he said. "I just want to be

+certain that the murderer of Harry Foster isn't as obvious as a stone

+pillar on the corner of Hollywood and Vine. Is Mrs. Foster clear?"</p>

+

+<p>Mullaney nodded. "Spending the whole evening with a friend."</p>

+

+<p>"Friend corroborate it?"</p>

+

+<p>Mrs. Foster smiled wanly. "She will if asked," she said.</p>

+

+<p>Miller nodded. "My only regret, Mrs. Foster, is that his insurance will

+just about cover his embezzlements. The rest&mdash;"</p>

+

+<p>"I wouldn't touch it&mdash;or him&mdash;with a ten-foot pole," she blazed.</p>

+

+<p>Jacobson met Miller at the door. "He got around," he said. "Blackmail,

+embezzlement, and outright larceny. There's been talk of drug-peddling

+and white slave traffic. Why or how the bird managed to be such a

+thorough stinker and still maintain his position here I'll never tell

+you."</p>

+

+<p>Miller looked at the coroner, who was just polishing up his job. Miller

+said, "Whoever did it did Foster a favor. Between you and me, we'd have

+had him between nutcrackers in another week."</p>

+

+<p>Jacobson nodded. "Couldn't have been suicide?"</p>

+

+<p>Miller shook his head. "After filling himself that full of lead, he was

+too dead to toss that gun. Furthermore, he was shot from greater than

+arm's distance. No," said Miller, "someone 'done him in' and should

+possibly be commended. Plain case of: 'Too bad, thank God!'"</p>

+

+<hr class="tb" />

+

+<p>Martha Evers watched her image on the stage in the studio theater.

+Beside her was Martin Hammer who was watching the performance with

+interest. Martha was watching with wonder; Hammer had seen this thing

+at work before and was more concerned with the technical portions of

+the opus than the wonder of watching a life-sized, living, breathing,

+talking image perform.</p>

+

+<p>On the other side of Martha Evers was Tim Woodart, who was just

+watching. He was more or less out of a job since professional

+photographers had taken over the job of making the performance.</p>

+

+<p>"But how is it done?" she asked him.</p>

+

+<p>"Same like any other of its kind," smiled Tim.</p>

+

+<p>"But there isn't any other."</p>

+

+<p>"Television is, sort of," he said. "Anyway, there is a three-way scan

+taking in the volume to be reproduced. Each atom in the original

+has its own characteristic charge and mass: this charge and mass is

+registered. When the reproducer replaces the real people with the

+image, the same scan forms real atoms where the real atom was in the

+original. The follow-up scan wipes the atom clear to make room for the

+next frame."</p>

+

+<p>"How about this building atoms?" puzzled the girl. "Doesn't that make

+for radioactivity?"</p>

+

+<p>"Uh-huh," he said, "but the radioactivity is really energy that we use

+to operate the machine."</p>

+

+<p>The scene on the stage switched to a close-up of Martha and the

+picture's villain, one Jack Vanders whose leer was known across the

+continent.</p>

+

+<hr class="chap" />

+

+<div class="figcenter">

+  <img src="images/illus3.jpg" alt=""/>

+</div>

+

+<hr class="chap" />

+

+

+<p>The woman on the other side of Tim Woodart stood up and called "Cut

+it!" in a low contralto.</p>

+

+<p>The stage cleared in a twinkle and the lights went up.</p>

+

+<p>Martin Hammer leaned across the seats and spoke to the standing woman.

+"What's wrong, Mrs. Foster?"</p>

+

+<p>"That won't do," she said. "Bad shot!"</p>

+

+<p>Hammer thought for a moment. "There's nothing wrong with a close-up,"

+he said. "It's done daily."</p>

+

+<p>Jenny Foster smiled. "Yes," she agreed, "the screen fills up from top

+to bottom with the face, and the eyes look softly into the camera lens

+as the girl murmurs, 'I love you' and it is effective because in the

+two-dimensional cinema, the trick of looking into the camera lens makes

+it appear as though the girl were gazing softly into your own eyes&mdash;no

+matter where you are in the theater. But this is solid, Hammer. When

+the gal looks at you, I can tell that she's looking at you from here."</p>

+

+<p>"So?"</p>

+

+<p>"So I'm resentful of the guy who has the preferred seat," she said.</p>

+

+<p>Martin Hammer smiled. "You can't have all the seats in the theater

+within a two-foot circle," he said. "But there must be some way to lick

+it."</p>

+

+<p>"You'll remember what I had to say?" she asked.</p>

+

+<p>Hammer nodded. "We'll work on it," he said. "Like all other media,

+solid performances require their own techniques. But until we locate

+the techniques, people will take to solids for their novelty."</p>

+

+<p>They all sat down. Mrs. Foster turned to Tim Woodart and asked him how

+it was done.</p>

+

+<p>"You mean the whole thing?"</p>

+

+<p>"No, the job of making enlargements."</p>

+

+<p>"Easy," he said. "We just have a repeat-scan that repeats the same

+atom in between true signals. Same like cramming a whole twelve-story

+building on a busy street. We cut out certain patterns&mdash;sometimes every

+other signal, sometimes every third, sometimes four out of five are

+eliminated in the recording. The number cut is a definite statement of

+the 'times-size' of the reproduction."</p>

+

+<p>"Sounds simple when you say it fast," she smiled.</p>

+

+<p>"I'll tell you about it later&mdash;?" he suggested.</p>

+

+<p>"I'd like that."</p>

+

+<p>He was too silent for a moment, and Jenny Foster knew it. "Tim," she

+said, "if you're worrying about the ... the&mdash;"</p>

+

+<p>"Well," he admitted slowly, "I was. Not that I care, but you&mdash;?"</p>

+

+<p>She smiled bitterly. "It's often said that no one knows another person

+until you've lived with them for some time. It was between our first

+meeting and three years after I married Harry Foster that I was his

+wife. That was when I found out about him. I&mdash;"</p>

+

+<p>"Look," said Tim, worriedly, "there's been something worrying me ever

+since we took these shots yesterday. Now I know what it is. Let's get

+out of here and I'll buy you a drink."</p>

+

+<p>"<i>Shhhhhh!</i>" insisted Hammer.</p>

+

+<p>"Stop it," returned Woodart.</p>

+

+<p>"Make notes," said Hammer. "I want to see these rushes to the close."</p>

+

+<p>"But&mdash;"</p>

+

+<p>"But nothing. Tell me later."</p>

+

+<p>"Let's go," said Tim plaintively.</p>

+

+<p>"It'll only be a minute. What are you worrying about?"</p>

+

+<p>Tim looked at the stage. This was a comic shot. In it, the head of

+the butler filled the stage and looked out at the audience through

+half-closed eyes. A middle distance shot previously had shown the

+butler taking a sniff of pepper, this was the aftermath&mdash;</p>

+

+<p>"No!" yelled Woodart.</p>

+

+<p>He was too late. His yell was covered by the explosive sneeze. A

+hurricane of wind blasted at the tiny theater. A window went out in

+back, and Martin Hammer's toupee left for Kansas.</p>

+

+<p>As the echoes died, Tim Woodart said, "That's what I meant."</p>

+

+<p>Hammer blinked. "I'd hate to pull an Alfred Hitchcock and have a .45

+pointed at the audience&mdash;close-up."</p>

+

+<p>Back of him, the photographer looked at the stage and made a quick

+estimate. "That," he said, "would hurl a nine-foot slug of lead at the

+audience!"</p>

+

+<p>Tim Woodart left quietly.</p>

+

+<hr class="tb" />

+

+<p>Tim Woodart led Jenny Foster to a small table and ordered Martinis.

+Jenny smiled at him and said: "Tell me how you came to invent this

+thing?"</p>

+

+<p>"Easy," he grinned. "I'm an avid reader of science-fiction and there

+was a yarn in one of the leading magazines some time ago that dealt

+with a matter transmitter. Written by a crackpot electronics engineer

+by the name of George O. Smith. He was rather explicit in a vague sort

+of way, but it gave me the initial idea, and here we are with it!"</p>

+

+<p>She laughed. "Is this character going to get any royalty?"</p>

+

+<p>"Oh," said Tim Woodart expansively, "I offered him some, but he

+refused, saying that his idea was nothing but a fiction idea and that

+any bright engineer would know how to send matter by radio."</p>

+

+<p>"Oh."</p>

+

+<p>"Besides, he's in Philadelphia, now, and the men in the white coats

+wouldn't let him write with anything but a blunt crayon."</p>

+

+<p>"Well, could you send things by wire with it?"</p>

+

+<p>Tim smiled, "Not at present," he said. "There isn't a transmission

+line with a broad enough band-pass to accept the signal frequencies

+necessary."</p>

+

+<p>"Now," said Jenny, taking a sip of her Martini, "you're getting in way

+over my head."</p>

+

+<p>Tim Woodart pulled out pencil and paper, but Jenny stopped him by

+laying a gentle hand on his. "Don't," she said plaintively. "I don't

+even know what happens when I snap on the light switch, let alone

+understanding transmission lines."</p>

+

+<p>Uncertainly he replaced the pencil and paper in his pocket. Then he

+laughed. "Shall we dance?"</p>

+

+<p>"That," she told him, "I understand."</p>

+

+<p>They danced&mdash;and they danced well together. And while they were getting

+better acquainted, a hundred miles to the south a man was stopped by a

+motorcycle policeman for traveling too fast.</p>

+

+<p>"Name?" snapped the policeman.</p>

+

+<p>"Harold Farman."</p>

+

+<p>"Driver's license?"</p>

+

+<p>"Why ... er ... I&mdash;"</p>

+

+<p>"No license?"</p>

+

+<p>"Well, it's here. But&mdash;"</p>

+

+<p>The policeman nodded. "Gimme," he snapped.</p>

+

+<p>Harry Foster cursed himself for forgetting. For even trying to run

+under an assumed name without changing every bit of evidence. But the

+policeman looked rather rough, and Harry handed over the license.</p>

+

+<p>"This says 'Harry Foster'," grunted the cop.</p>

+

+<p>"I'm Harry Foster."</p>

+

+<p>"That wasn't the name you gave me," said the cop pointedly.</p>

+

+<p>"Look, officer, I'm about to meet a young lady&mdash;we're meeting at the

+Border to marry in Mexico. Her father objects, and he's influential

+enough to send out word that I'm to be picked up on some pretext and

+held. That's why."</p>

+

+<p>The officer nodded sensibly. "Sounds reasonable," he said, "and

+logical, and just about as silly as the usual guy who tried to elope."</p>

+

+<p>"Well&mdash;thanks, officer. And may I bet you fifty that today is Sunday?"</p>

+

+<p>"Today's Tuesday," replied the officer.</p>

+

+<p>"My goodness," said Foster in surprise. "I lose, don't I?" He handed

+the officer a folded fifty. The officer took it and smiled dryly.</p>

+

+<p>"You lose," he told Foster, "because so far as I know, there's a

+Lieutenant Miller of the Los Angeles police that has a dragnet out for

+Harry Foster&mdash;the motion picture hero!"</p>

+

+<p>"Now look&mdash;"</p>

+

+<p>"I've looked," said the cop, "and you're it. Will you come quietly or

+will you come horizontal?"</p>

+

+<p>Harry Foster laughed. "I'm not <i>that</i> Harry Foster," he said.</p>

+

+<p>"No?"</p>

+

+<p>"No."</p>

+

+<p>"And how am I going to tell?"</p>

+

+<p>"Call Miller. I happen to know that the moving picture star died not

+more than a few days ago."</p>

+

+<p>"That," said the policeman, closing his book, "is something that we can

+check but quickly. You'll come along while we check it, though."</p>

+

+<p>"I'll come," said Foster cheerfully.</p>

+

+<p>He went. The policeman called. Miller gave him the right answer, that

+the wanted man, Harry Foster, had been buried within the week. No,

+there was no mistake. The dead man's identity had been established to

+the satisfaction of every interested agency. The F.B.I. and the local

+police had seen to it that the dental work checked, fingerprints,

+everything including visual identification by friends, enemies, wife,

+and business associates.</p>

+

+<p>Harry Foster left a short time later with an internal grin. He&mdash;was

+dead. Ergo&mdash;he could not be punished!</p>

+

+<p>He laughed wildly as he resumed his driving, but his driving was less

+wild. There was a thoughtful quality about it.</p>

+

+<p>At the Mexican Border, Harry Foster stopped for rest and while resting

+he read the newspaper. It carried the usual run of gossip columns, and

+in one of them Harry Foster saw&mdash;and read with growing interest:</p>

+

+<div class="blockquot">

+<p>The widow of Harry Foster, whose body was found on the evening before

+the authorities were to have closed in on his nefarious activities, is

+finding solace in the company of Tim Woodart, who is the inventor of

+Hammer Productions' new play technique. No one would deny Jenny Foster

+her right to happiness, and we'll cheer her on&mdash;</p></div>

+

+<p>Foster crumpled the paper craftily. Woodart was about ready to start

+banking checks in six or seven figures, and&mdash;</p>

+

+<p>Harry Foster left the restaurant and headed back toward Hollywood.</p>

+

+<hr class="tb" />

+

+<p>The locomotive thundered across the stage at a forty-five degree

+angle, filling the theater with a wave of heat and a puff of smoke and

+steam. Then it was past and gone, and its string of cars rumbled out

+of "offstage" to the right rear to the "offstage" at the left-front

+corner. It slowed and stopped, and the porter and passengers emerged;

+the principal players of the scene appeared and went through their

+action.</p>

+

+<p>"Now that," said Hammer, pleased, "is a right good scene."</p>

+

+<p>"Y'know," smiled Jenny Foster, "people are going to be so surprised to

+see the real thing come roaring across the stage that they're going to

+forget a couple of rather irrelevant items like having their heroine's

+head nineteen feet in diameter."</p>

+

+<p>"Yeah," drawled Hammer, "and tell the crook to shave closer. A close-up

+of Jack Vanders looks like a pincushion with telephone poles shoved in.

+Didn't know hair could be so big!"</p>

+

+<p>"What bothers me," smiled Martha Evers, "is where I drink that

+Manhattan in the close-up. Darned drink must be all of twenty-three

+gallons."</p>

+

+<p>"That isn't the main trouble with that scene," objected Vanders

+cheerfully. His saturnine face was only for selling purposes; a more

+pleasant villain was seldom to be found. "What bothers everybody is

+that you can smell the odor of that drink, it's so big. Half of the

+would-be sots in the audience are going to be as dry as the Sahara by

+the time Evers gets it down."</p>

+

+<p>Martha laughed, "Hammer is a great one for realism," she said, "but

+I hope he doesn't insist on a real slug of cyanide in the poisoning

+scene. I hate to think of twenty gallons of cyanide!"</p>

+

+<p>"No doubt," laughed Hammer. "But what we ought to do is to have Woodart

+fix up some way of stopping that thing during close-up. We could start

+with a normal Martini and end up with fifty gallons."</p>

+

+<p>Woodart shook his head. "Cost twenty times as much liquor itself," he

+said with a good-natured smile. "You see, the energy that keeps this

+thing in balance comes from the wipe-out of the previous scene. Stop it

+that way and your light bill heads for the ceiling."</p>

+

+<p>"O.K.&mdash;it was just an idea."</p>

+

+<p>Vanders faced the group. "Look," he said. "I'm a professional villain,

+and all villains are supposed to want something for nothing and finding

+out that it can't be did."</p>

+

+<p>Woodart agreed.</p>

+

+<p>Then the scene changed to an overhead shot of Cincinnati. Taken by

+helicopter, the scene was an angle shot down across Fountain Square

+towards the river. In the cinema such shots do not seem bizarre, but in

+solid, the street with its teeming cars and pedestrians was tilted at

+an angle: the angle between street and camera remained as it was, and

+the camera, of course, became the projector which was in the back of

+the theater.</p>

+

+<p>The "eye" zoomed down and the street grew in size until the fountain

+that gave the Square its name was in plain view. It seemed incongruous

+that the water in the fountain came out at an odd angle to gravity and

+fell back at another odd angle, yet this was not a running reproduction

+of Fountain Square but a swift series of instantaneous reproductions

+and the droplets of water like everything else was replaced in whatever

+relative position it was, regardless of the facts of true gravity.</p>

+

+<p>The scene tilted flat, finally, and traveled along the street on the

+level until the principal character was approached, whereupon the

+action began. The camera followed Jack Vanders into a bar where he met

+Martha Evers and ordered the Manhattan that was to become Gargantuan in

+size&mdash;</p>

+

+<hr class="tb" />

+

+<p>Jenny Foster put her face up for a good night kiss, and then shoved her

+apartment door open as Tim turned to leave. Inside, the living room

+light was on, and Jenny instantly called Tim back.</p>

+

+<p>"Someone," she said, pointing to the lights.</p>

+

+<p>"O.K." he said, entering before her. Sprawled in Jenny's easy-chair

+was&mdash;</p>

+

+<p>"Foster!"</p>

+

+<p>"Who&mdash;me?" asked Foster in surprise. "Foster's dead."</p>

+

+<p>"Can it," snapped Woodart. "And talk!"</p>

+

+<p>"Or else?" drawled Foster indolently.</p>

+

+<p>"Or else," snarled Woodart.</p>

+

+<p>"Or else what?"</p>

+

+<p>Tim went to the telephone and dialed the number of the police force.</p>

+

+<p>"Don't bother," said Harry Foster. "I'm ... Foster, that is, is dead."</p>

+

+<p>Tim replaced the telephone. "What's the gag?" he demanded.</p>

+

+<p>"I," said Foster hollowly, "am a ghost returned to plague mine

+unfaithful wife."</p>

+

+<p>"The hereafter is going to have a moaning ghost with a shanty on its

+eye," said Woodart ominously. "Unfaithful wife my foot. If ever she&mdash;"</p>

+

+<p>"Now that's been the big bone of contention," smiled Foster. "Foster

+gave her no grounds, and she was too good to give me any. And Foster

+gave her none because it is still impossible to have a wife testify

+against her husband."</p>

+

+<p>"Very sly of you."</p>

+

+<p>"Of Foster."</p>

+

+<p>"You're Foster!"</p>

+

+<p>"Me? No. Foster's dead."</p>

+

+<p>Jenny gave a weak cry of despair. "What do you want?" she asked.</p>

+

+<p>"How much have you got?" asked Foster pointedly.</p>

+

+<p>"Blackmail," snarled Woodart.</p>

+

+<p>"Why no. Not at all."</p>

+

+<p>"You name it."</p>

+

+<p>"It need have no name. You see, Woodart, I've learned that I no

+longer need the protection of the legality that prevents a wife from

+testifying against her husband. Her husband is dead."</p>

+

+<p>"So?"</p>

+

+<p>"Well, it isn't blackmail to perform a service for someone."</p>

+

+<p>"Meaning?"</p>

+

+<p>"Divorce comes high," explained Foster pointedly.</p>

+

+<p>"After which&mdash;if done&mdash;you could continue to ask for more," said

+Woodart angrily. "You could threaten to prove that you were paid to get

+the divorce, a mere matter of blackening the character of a woman whose

+only error was being blind enough to take a second look at you."</p>

+

+<p>"Your ingenious mind is too complex," said Foster quietly.</p>

+

+<p>"May I point out that if you are dead, you are dead, and therefore&mdash;"</p>

+

+<p>Foster laughed nastily. "Legally and physically, Harry Foster died

+and was buried. Legally there is nothing that could possibly prevent

+you from marrying her if you wanted to. But you see, Woodart, my wife

+is a completely moral woman, to say nothing of ethical. Though it is

+legal, there is still the gnawing doubt in her that she is compounding

+a felony&mdash;bigamy."</p>

+

+<p>Jenny made a plaintive gesture, "I'll wait until he asks me&mdash;"</p>

+

+<p>But she was not heard. Tim Woodart snorted. "So you think they'll be

+hesitant about punishing a dead man?"</p>

+

+<p>"What do you think?"</p>

+

+<p>Woodart strode forward and took Foster by the lapels of his coat,

+gathered them into one hand, and lifted the crook out of the easy-chair

+with an angry shake. "Then they can't book me for assault and battery

+upon the person of a corpse," he gritted. His free hand came back and

+forth across Foster's face, driving the heel's head from side to side.

+Then Woodart shoved him back, letting go of the lapels and using that

+hand to bury itself to the wrist in Foster's midsection. As Foster

+folded forward, Tim straightened him up with an upward chop to the jaw.</p>

+

+<hr class="chap" />

+

+<div class="figcenter">

+  <img src="images/illus4.jpg" alt=""/>

+</div>

+

+<hr class="chap" />

+

+

+<p>Foster crumpled, and Woodart lifted him by the collar and dragged him

+to the door, hurling him into the hallway. Foster turned, wiping blood

+from his face, and spat like an angry cat.</p>

+

+<p>"That'll cost you, punk," he snarled.</p>

+

+<p>Woodart laughed.</p>

+

+<p>"Laugh," leered Foster. "You can't bring suit for divorce against a

+dead man, either!"</p>

+

+<hr class="tb" />

+

+<p>Harry Foster opened the door to his apartment and nodded quite

+genially. "Come in, gentlemen," he said overpolitely.</p>

+

+<p>State attorney Jones was less cordial, and Lieutenant Miller was harsh.</p>

+

+<p>"You're Harry Foster."</p>

+

+<p>"I am. Strange coincidence, isn't it?"</p>

+

+<p>"Coincidence my&mdash;"</p>

+

+<p>"Be careful," warned Foster. "You wouldn't want to insult a citizen,

+would you? It might go hard with you."</p>

+

+<p>"You're Harry Foster."</p>

+

+<p>"I am."</p>

+

+<p>"Then who was the man that was buried?"</p>

+

+<p>"That is the coincidence," said Foster sorrowfully. "He was another

+Harry Foster. I understand that he was a rascal and definitely needed

+killing."</p>

+

+<p>"Where were you when that deed was done?"</p>

+

+<p>"Me? Look, sir, am I under suspicion?"</p>

+

+<p>"Could be."</p>

+

+<p>"Then produce your warrant! I shall take no guff from you nor any of

+your ilk."</p>

+

+<p>"Take it easy," said Jones. "An innocent man has nothing to fear."</p>

+

+<p>"An innocent man," said Foster, "has plenty to fear. Scheming

+politicians and courts who like to see convictions. Also there is the

+protection of the Constitution of the United States that grants me the

+right to do as I please so long as I am lawful about it."</p>

+

+<p>"It also grants us the right to protect other people," said Lieutenant

+Miller. "As for a warrant, we have a search warrant&mdash;plus the fact that

+we know that murder was done in this apartment not more than two weeks

+ago."</p>

+

+<p>"You're in," said Foster. "And you may leave as soon as you can. I'll

+not detain you."</p>

+

+<p>"You know," said State attorney Jones, "this man answers the

+description of the man who is wanted for any number of assorted crimes

+from forgery to grand larceny. In every way he fills the bill. I think

+we will arrest you, Mr. Foster."</p>

+

+<p>"You'll be sorry. This is false arrest."</p>

+

+<p>"Indeed. In this country, all arrests are false arrests because it is

+a statement of intent that all men are innocent until proven guilty by

+a court of justice! Ergo, we take you into custody whether innocent

+or guilty and we will permit the judgment of the court to decide your

+status. Coming quietly&mdash;or would you prefer to resist arrest?"</p>

+

+<p>Lieutenant Miller looked eager. "Please resist," he said clenching his

+fist.</p>

+

+<p>"Unclench it," snapped Foster. "You touch me and I'll prove that you

+wantonly and brutally attacked an innocent victim without provocation."</p>

+

+<p>"I've provocation enough," snarled Miller. "My sister&mdash;"</p>

+

+<p>"Your sister suffered deeply at the hands of this blackguard Harry

+Foster," said Foster oilily. "But because he resembled me and wore my

+name is no logical nor lawful reason for identifying your hatred of him

+against me. That is a psychopathic failing, Lieutenant Miller."</p>

+

+<p>"I'd like to make a pathological mess out of you," snapped Miller.</p>

+

+<p>"Mr. Jones, you will remember that threat," said Foster. "As State

+attorney, it is your duty to protect the innocent."</p>

+

+<p>Jones closed his lips over hard teeth and said nothing. He would have

+enjoyed the job of protecting Foster against a hungry hyena.</p>

+

+<p>Foster went with them, but his manner was not that of a dangerous

+criminal who had been apprehended. It was that of a man who knows all

+the answers.</p>

+

+<hr class="tb" />

+

+<p>"The defendant, Harry Foster, is charged with Murder in the First

+Degree," said State attorney Jones. "This is a strange case, gentlemen

+of the jury. It is without precedent, and, therefore, your action will

+establish a precedent. I charge you to consider not only the case at

+hand and to try it with the utmost regard to justice, but to remember,

+as you are considering the evidence to be presented, that this is but

+the first of many cases that will certainly follow. I&mdash;"</p>

+

+<p>"I object! The defendant is on trial, not the Judicial System of the

+United States!" shouted Defense attorney Cranshaw.</p>

+

+<p>Judge Carver said, "The objection is sustained. Strike that from the

+record."</p>

+

+<p>Jones turned to the Court. "Your Honor, I request that my statements

+about the establishment of precedent be retained."</p>

+

+<p>Carver nodded. "It is true that this case will establish a precedent.

+Yet the trial at hand is the only thing of importance."</p>

+

+<p>"I accept," replied Jones, and returned to the jury.</p>

+

+<p>"I will attempt to show that the defendant did produce a living

+duplicate of himself after which he killed the duplicate. I call for my

+first witness the inventor of the device, Timothy Woodart."</p>

+

+<p>Tim came to the stand and was sworn. There was considerable questioning

+to establish the qualifications of the witness, during which Cranshaw

+said to Foster: "This will be a thin case, Foster. Yet, if we can

+establish a reasonable doubt, the result will be an acquittal."</p>

+

+<p>"Thin nothing," laughed Foster. "Just tie 'em up as I told you!"</p>

+

+<p>"All right," replied Cranshaw uncertainly. "But it will be like arguing

+on one side for part of the time and then switching sides in the

+middle."</p>

+

+<p>"What do you care so long as we win?"</p>

+

+<p>"I don't," grinned Cranshaw. "Listen&mdash;Woodart is starting to give

+pertinent testimony."</p>

+

+<p>"Mr. Woodart," asked Jones, "is it possible for your device to be

+stopped at such a time as to leave a complete set?"</p>

+

+<p>"Yes," said Woodart.</p>

+

+<p>"And you've known this all along?"</p>

+

+<p>"Naturally. I invented it."</p>

+

+<p>"Then the device is essentially a duplicating device?"</p>

+

+<p>Woodart nodded. "It is, but like all such devices, it requires power.

+The laws of conservation of matter and energy make it impractical to

+produce a myriad of devices from a recording."</p>

+

+<p>"And why is the device practical for the production of panoramic

+entertainment?"</p>

+

+<p>"The initial power is expended in producing the first replica of the

+original scene," said Woodart, "after which, the scene is obliterated,

+which returns the power to the equipment for the construction of the

+next frame. Aside from the conversion losses and basic inefficiencies,

+the thing is then self-supporting."</p>

+

+<p>"In other words, if it takes a kilowatt to establish one frame, that

+kilowatt is returned to the equipment?"</p>

+

+<p>"Yes," said Woodart, "though the power is more on the order of a

+hundred thousand kilowatts."</p>

+

+<p>"As the main party involved with the equipment, it is your duty to see

+that it is kept in operating condition?"</p>

+

+<p>"Yes."</p>

+

+<p>"Then tell us, Mr. Woodart, at any time since the device was initiated

+has there been any expenditure of great power that was unaccounted for?"</p>

+

+<p>"There was."</p>

+

+<p>"And your analysis?"</p>

+

+<p>"On the night of May 18th the power demand meter showed the expenditure

+of seventy thousand kilowatts. It is my opinion that&mdash;"</p>

+

+<p>"I object! That is an opinion, not a fact!" exploded Cranshaw.</p>

+

+<p>Jones smiled. "Counsel will admit that it is the opinion of a very

+qualified man."</p>

+

+<p>"I want it understood that this testimony is but an opinion!"</p>

+

+<p>"Objection noted," said Judge Carver. "Proceed, Mr. Jones."</p>

+

+<p>Jones nodded at Woodart. Woodart continued&mdash;</p>

+

+<p>"My opinion is that during the night, someone established a single

+frame of the opus we were working on. Once this single frame was

+established, the person removed from the set one object, after which

+he wiped the stage clean, returning that to the equipment as power but

+without the object which accounts for seventy thousand kilowatts of

+energy."</p>

+

+<p>"Mr. Woodart, is there any correlation between this power and the

+Einstein Formula?"</p>

+

+<p>"No. The matter is not made&mdash;manufactured. It is converted. The energy

+represents the power required to carry the matter from a storage place

+to the stage. It is somewhat like lifting a weight to a certain height.

+There is no correlation between the foot-pounds of energy expended in

+such and the mass-energy of the stone. However, in lifting a stone,

+the energy expended in lift will be returned when the stone is let

+down&mdash;excepting that part which is removed from the total while the

+stone is held in midair."</p>

+

+<p>"Then it might be difficult for you to determine just what was removed

+from the set?"</p>

+

+<p>"It might be," said Woodart, looking hard at Harry Foster.</p>

+

+<p>"That is all, Mr. Woodart." To the jury, Jones said: "I think you will

+find that the testimony just given will prove that duplication is

+possible. My next witness will show just who was duplicated. I now call

+Lieutenant Miller to the stand."</p>

+

+<hr class="tb" />

+

+<p>"Lieutenant Miller, when you came to the apartment of Harry Foster,

+what did you find?"</p>

+

+<p>"I found Harry Foster, dead of gunshot wounds."</p>

+

+<p>"And what else?"</p>

+

+<p>"A revolver."</p>

+

+<p>"And?"</p>

+

+<p>"The revolver was in a far corner of the room," said Miller. "The dead

+man could not have used it upon himself for numerous reasons, even

+though the only fingerprints on the weapon were unmistakably those

+of Harry Foster. One reason is the distance between the body and the

+weapon; the wounds produced instant death. Another reason is that

+the dead man's right hand was in his coat pocket&mdash;clenched around a

+duplicate of the revolver."</p>

+

+<p>"You can establish the authenticity of this?"</p>

+

+<p>"Both weapons had the same serial number. Both bore the same scars from

+use. Both weapons produced the same landmarks upon test bullets. Yet at

+that time only one weapon had been fired; the one tossed in the corner."</p>

+

+<p>"Your Honor, I enter as Exhibit A these weapons, duplicates of one

+another. They are definite proof that duplication of objects did take

+place."</p>

+

+<p>"Evidence accepted."</p>

+

+<p>"It will be noted that the serial number on these guns is registered in

+the name of Harry Foster. I will suggest no indictment at this time for

+the criminal act of having two weapons with the same serial number but

+I do suggest that it be remembered."</p>

+

+<p>He turned to Miller and said, "That is all."</p>

+

+<p>Cranshaw arose to cross-question. "Mr. Miller," he asked, "is there any

+way of telling which of those guns is the original and which is the

+duplicate. I assume that they are not <i>both</i> duplicates."</p>

+

+<p>"Only the marking on the weapon that was fired after the killing."</p>

+

+<p>"But, Lieutenant Miller, this is not conclusive. Which weapon was used

+to kill the dead man&mdash;the original or the duplicate?"</p>

+

+<p>"I object. That is irrelevant, immaterial, and incompetent!"</p>

+

+<p>Cranshaw smiled deeply. "It is all three, Counsel. I want to know at

+this time who was the killer and who was the duplicate?"</p>

+

+<p>Miller shook his head. "Only he can answer that."</p>

+

+<p>"That is all," smiled Cranshaw.</p>

+

+<p>Jones called the defendant to the stand. "Mr. Foster, did you or did

+you not make a duplicate of yourself?"</p>

+

+<p>"Objection. The question is an obvious attempt to incriminate the

+witness!"</p>

+

+<p>"Sustained!"</p>

+

+<p>"I merely wish to establish the identity of the witness."</p>

+

+<p>"Then do it without asking him leading questions."</p>

+

+<p>Jones faced Cranshaw angrily. "How can I?" he stormed angrily. "His

+name, his measurements, his fingerprints, his ... everything is

+identical to that of the slain."</p>

+

+<p>"Inconveniently coincidental," smiled Cranshaw.</p>

+

+<p>"Mr. Foster," said Jones quietly, "upon the night of May 18th, was

+there a duplicate human being made?"</p>

+

+<p>Foster nodded in a superior fashion.</p>

+

+<p>"And are you the duplicate or the&mdash;"</p>

+

+<p>"Objection!"</p>

+

+<p>"Sustained!"</p>

+

+<p>"That is all, Mr. Foster," replied Jones angrily. He turned to the jury

+and smiled. "My points are simple but clear," he said. "Circumstantial

+evidence it may be, but a more profound interlock of such evidence is

+seldom found. One: There was a duplicate made. Two, a man was killed

+by a weapon belonging to Harry Foster, in Harry Foster's apartment,

+and all evidence fails to show the occupancy of any other human being.

+Three, the defendant admits that there was duplication made but makes

+attempt to confuse the Court by denying to answer whether he is

+original or duplicate! This is an admission that he was the duplicate

+made&mdash;or that he was the original. No denial is made of this. Since

+it is impossible by any ordinary means to distinguish one Harry

+Foster&mdash;defendant&mdash;from the other Harry Foster&mdash;victim&mdash;a sentence of

+death is indicated for Harry Foster, the defendant, since the killing

+conveniently made the only distinction."</p>

+

+<p>Cranshaw arose with a stretch and a smile. "First," he said sincerely,

+"I want to clear my client of other charges against him. Your Honor,

+and Counsel for the Prosecution, will you admit as evidence the

+statements made by relatives, and other competent authorities to the

+effect that the dead man was the Harry Foster who was wanted for crimes

+of various nature?"</p>

+

+<p>"I object!" exploded Jones. "If any duplication was made, then the

+duplicate is equally guilty!"</p>

+

+<p>"All right," said Cranshaw. "Let it pass." He faced the jury with a

+persecuted air. "Anything to make life difficult," he laughed.</p>

+

+<p>"Now," he said, "may I enter as evidence the suit that the slain man

+was wearing? It is&mdash;or was&mdash;identical to that which my client is

+wearing now. At the present time," he said with a smile, "the client's

+suit is a little more worn, though in better condition due to the holes

+in this one. Now, for my first witness I call Dr. Lewis."</p>

+

+<hr class="tb" />

+

+<p>"Dr. Lewis, have you ever considered the being of a duplicate?"</p>

+

+<p>"Not until recently," smiled the doctor.</p>

+

+<p>"You are a competent psychiatrist. Can you tell us the

+responsibility-quotient of a man kept in a state of suspended

+animation until he was thirty-three years old?"</p>

+

+<p>"He would have little or no sense of responsibility at all."</p>

+

+<p>"Would you say then that a duplicate of any human being was responsible

+for the acts of the original?"</p>

+

+<p>"I would hate to ponder the question," replied the psychiatrist. "It

+would depend entirely upon the degree of duplication. Yet it seems to

+run against the grain to make a duplicate responsible for the acts of

+the original when up to this time the duplicate had no true identity."</p>

+

+<p>"You assume the duplicate would have an identity?"</p>

+

+<p>"If the duplicate is capable of original thought, he has."</p>

+

+<p>"Yet, Dr. Lewis, what comprises identity?"</p>

+

+<p>"The ego is a rather deep subject," replied the doctor thoughtfully.

+"The question 'What is this that am I?' is one pondered for many

+thousands of years. It is still without answer&mdash;though it is generally

+accepted that a man is what he is because of his lifetime of

+experiences."</p>

+

+<p>"Will you expand upon that, doctor?"</p>

+

+<p>The doctor nodded. "A new-born babe has little true identity or

+individuality. That is because his only experience is almost congruent

+with all other new-born babes. As he lives, his experiences will differ

+because of environment and heredity from others&mdash;in the case of twins

+this is true despite the idea that the environment and heredity is

+identical. It is not. The environment of Twin A includes the life of

+Twin B, and vice versa. Therefore each twin must evolve a different

+identity. As a man grows and enjoys experience, each factor changes his

+personality in some way major or minor, and he emerges a true identity,

+which, however, is different in some minor way from day to day as his

+experiences accumulate."</p>

+

+<p>"Then at the instant of duplication, the two persons have approximately

+the same identity?"</p>

+

+<p>"Yes save for the single fact that one has just been in the process

+of formation whilst the other was in the process of being recorded. I

+assume that the two processes are not identical."</p>

+

+<p>"Then," said Cranshaw, facing the jury, "may I point out that no

+identity was really removed from the face of this earth by this

+so-called killing. But one birth certificate was issued for Harry

+Foster. But one Harry Foster lived and grew and became the Harry Foster

+that many people knew as a motion picture star. A duplicate Harry

+Foster was made, and then eliminated. Harry Foster was killed&mdash;and yet

+Harry Foster remains! If the law states a life for a life, we have it

+in the person of the living Harry Foster! He&mdash;killed himself."</p>

+

+<p>Cranshaw smiled indulgently. "There are laws concerning suicide," he

+said. "These laws make suicide a felony. Because of this there have

+been many jokes made about the penalty for suicide, but there is

+good reason for such laws. You see, Gentlemen of the Jury, it is not

+necessary to wait until the burglar emerges from the bank with his

+coat pockets bulging to arrest him. You may apprehend him while he is

+drilling his way into the bank for the crime of Attempting To Compound

+A Felony. An attempt at suicide is, then, an attempt to compound

+a felony and the would-be suicide may be apprehended for his own

+protection. Since the penalties for attempted suicide usually consist

+of compelling the miscreant to undergo psychiatric treatment to remove

+the obvious mental unrest that gave him the will to self-destruction,

+I suggest that my client be given the same treatment for the crime of

+suicide."</p>

+

+<p>He sat down. "Now," he said with a smile, "that should hang that jury

+higher than a kite. What is the penalty for successful suicide? Not

+execution&mdash;"</p>

+

+<p>"Shut up," snapped Foster.</p>

+

+<hr class="tb" />

+

+<p>The jury returned after many hours, and the foreman arose. "Your Honor,

+we have deliberated this case and find that our decision requires

+explanation. Suicide we reason, is self-murder. Since suicide requires

+a certain amount of planning and contemplation, we find the defendant

+guilty on all charges including Murder in the First Degree!"</p>

+

+<p>The roar of the spectators covered up the judge's words, but Harry

+Foster heard him pronounce the fatal words.</p>

+

+<p>Tim Woodart turned the key in Jenny Foster's apartment, shoved the door

+open and stood aside to let her enter. Once in the dim living room, she

+turned and buried her head in Tim's shoulder.</p>

+

+<p>He held her close and stroked her head with one hand. Over her head

+he saw the clock on the wall, it registered midnight. "Easy," he said

+softly. "It's all&mdash;over."</p>

+

+<p>She nodded, too filled with emotion and relief to speak.</p>

+

+<p>Then as the sweep-hand crept past the instant of midnight, a sardonic

+voice came from the easy-chair.</p>

+

+<p>"A very pretty scene."</p>

+

+<p>Jenny whirled, her face white. "Harry!" she said with a quavering voice.</p>

+

+<p>As Tim faced Foster he asked Jenny to call Lieutenant Miller.</p>

+

+<p>Foster laughed again. "Call him," he jeered. "And remember that the Law

+of the Land makes it impossible for me to be placed in double jeopardy!"</p>

+

+<p>"What's been done before can be done again," said Tim.</p>

+

+<p>"Uh-huh," laughed Foster. "But not punishment. The Law, yer know.</p>

+

+<p>"You see," jeered Foster, "knowing that I am going on and on and on, I

+merely had Cranshaw make another duplicate of me. Now no one can touch

+me!"</p>

+

+<p>Jenny turned from the telephone and Tim put an arm about her and led

+her from the apartment. He left the door open&mdash;</p>

+

+<p>"There he is," said Tim, outside. "And you know what he has in mind."</p>

+

+<p>Harry Foster nodded, took out his revolver, and charged in. The quiet

+apartment was filled with the sudden racket of gunfire, quickly there;

+quickly stopped.</p>

+

+<p>"Let Miller clean up," said Tim harshly.</p>

+

+<p>"But&mdash;?"</p>

+

+<p>"They're equally fast and they're equally forewarned. Tough guy&mdash;it

+took four of him to get rid of him."</p>

+

+

+<p class="ph1">THE END</p>

+

+<hr class="chap" />

+

+<div class="figcenter">

+  <img src="images/illus5.jpg" alt=""/>

+</div>

+

+

+

+

+<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK PROBLEM IN SOLID ***</div>

+<div style='text-align:left'>

+

+<div style='display:block; margin:1em 0'>

+Updated editions will replace the previous one&#8212;the old editions will

+be renamed.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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&#8482; electronic works to protect the PROJECT GUTENBERG&#8482;

+concept and trademark. Project Gutenberg is a registered trademark,

+and may not be used if you charge for an eBook, except by following

+the terms of the trademark license, including paying royalties for use

+of the Project Gutenberg trademark. If you do not charge anything for

+copies of this eBook, complying with the trademark license is very

+easy. You may use this eBook for nearly any purpose such as creation

+of derivative works, reports, performances and research. Project

+Gutenberg eBooks may be modified and printed and given away&#8212;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.

+</div>

+

+<div style='margin-top:1em; font-size:1.1em; text-align:center'>START: FULL LICENSE</div>

+<div style='text-align:center;font-size:0.9em'>THE FULL PROJECT GUTENBERG LICENSE</div>

+<div style='text-align:center;font-size:0.9em'>PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</div>

+

+<div style='display:block; margin:1em 0'>

+To protect the Project Gutenberg&#8482; 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 &#8220;Project

+Gutenberg&#8221;), you agree to comply with all the terms of the Full

+Project Gutenberg&#8482; License available with this file or online at

+www.gutenberg.org/license.

+</div>

+

+<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>

+Section 1. General Terms of Use and Redistributing Project Gutenberg&#8482; electronic works

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.A. By reading or using any part of this Project Gutenberg&#8482;

+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&#8482; electronic works in your

+possession. If you paid a fee for obtaining a copy of or access to a

+Project Gutenberg&#8482; 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.

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.B. &#8220;Project Gutenberg&#8221; 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&#8482; 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&#8482; electronic works if you follow the terms of this

+agreement and help preserve free future access to Project Gutenberg&#8482;

+electronic works. See paragraph 1.E below.

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.C. The Project Gutenberg Literary Archive Foundation (&#8220;the

+Foundation&#8221; or PGLAF), owns a compilation copyright in the collection

+of Project Gutenberg&#8482; 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&#8482; mission of promoting

+free access to electronic works by freely sharing Project Gutenberg&#8482;

+works in compliance with the terms of this agreement for keeping the

+Project Gutenberg&#8482; 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&#8482; License when

+you share it without charge with others.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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&#8482; work. The Foundation makes no

+representations concerning the copyright status of any work in any

+country other than the United States.

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.E. Unless you have removed all references to Project Gutenberg:

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.E.1. The following sentence, with active links to, or other

+immediate access to, the full Project Gutenberg&#8482; License must appear

+prominently whenever any copy of a Project Gutenberg&#8482; work (any work

+on which the phrase &#8220;Project Gutenberg&#8221; appears, or with which the

+phrase &#8220;Project Gutenberg&#8221; is associated) is accessed, displayed,

+performed, viewed, copied or distributed:

+</div>

+

+<blockquote>

+  <div style='display:block; margin:1em 0'>

+    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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you

+    are not located in the United States, you will have to check the laws

+    of the country where you are located before using this eBook.

+  </div>

+</blockquote>

+

+<div style='display:block; margin:1em 0'>

+1.E.2. If an individual Project Gutenberg&#8482; 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 &#8220;Project

+Gutenberg&#8221; 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&#8482;

+trademark as set forth in paragraphs 1.E.8 or 1.E.9.

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.E.3. If an individual Project Gutenberg&#8482; 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&#8482; License for all works

+posted with the permission of the copyright holder found at the

+beginning of this work.

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.E.4. Do not unlink or detach or remove the full Project Gutenberg&#8482;

+License terms from this work, or any files containing a part of this

+work or any other work associated with Project Gutenberg&#8482;.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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&#8482; License.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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&#8482; work in a format

+other than &#8220;Plain Vanilla ASCII&#8221; or other format used in the official

+version posted on the official Project Gutenberg&#8482; website

+(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 &#8220;Plain

+Vanilla ASCII&#8221; or other form. Any alternate format must include the

+full Project Gutenberg&#8482; License as specified in paragraph 1.E.1.

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.E.7. Do not charge a fee for access to, viewing, displaying,

+performing, copying or distributing any Project Gutenberg&#8482; works

+unless you comply with paragraph 1.E.8 or 1.E.9.

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.E.8. You may charge a reasonable fee for copies of or providing

+access to or distributing Project Gutenberg&#8482; electronic works

+provided that:

+</div>

+

+<div style='margin-left:0.7em;'>

+    <div style='text-indent:-0.7em'>

+        &#8226; You pay a royalty fee of 20% of the gross profits you derive from

+        the use of Project Gutenberg&#8482; works calculated using the method

+        you already use to calculate your applicable taxes. The fee is owed

+        to the owner of the Project Gutenberg&#8482; 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, &#8220;Information about donations to the Project Gutenberg

+        Literary Archive Foundation.&#8221;

+    </div>

+

+    <div style='text-indent:-0.7em'>

+        &#8226; 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&#8482;

+        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&#8482;

+        works.

+    </div>

+

+    <div style='text-indent:-0.7em'>

+        &#8226; 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.

+    </div>

+

+    <div style='text-indent:-0.7em'>

+        &#8226; You comply with all other terms of this agreement for free

+        distribution of Project Gutenberg&#8482; works.

+    </div>

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.E.9. If you wish to charge a fee or distribute a Project

+Gutenberg&#8482; electronic work or group of works on different terms than

+are set forth in this agreement, you must obtain permission in writing

+from the Project Gutenberg Literary Archive Foundation, the manager of

+the Project Gutenberg&#8482; trademark. Contact the Foundation as set

+forth in Section 3 below.

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.F.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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&#8482; collection. Despite these efforts, Project Gutenberg&#8482;

+electronic works, and the medium on which they may be stored, may

+contain &#8220;Defects,&#8221; 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.

+</div>

+

+<div style='display:block; margin:1em 0'>

+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the &#8220;Right

+of Replacement or Refund&#8221; described in paragraph 1.F.3, the Project

+Gutenberg Literary Archive Foundation, the owner of the Project

+Gutenberg&#8482; trademark, and any other party distributing a Project

+Gutenberg&#8482; 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.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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 &#8216;AS-IS&#8217;, WITH NO

+OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT

+LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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&#8482; electronic works in

+accordance with this agreement, and any volunteers associated with the

+production, promotion and distribution of Project Gutenberg&#8482;

+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&#8482; work, (b) alteration, modification, or

+additions or deletions to any Project Gutenberg&#8482; work, and (c) any

+Defect you cause.

+</div>

+

+<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>

+Section 2. Information about the Mission of Project Gutenberg&#8482;

+</div>

+

+<div style='display:block; margin:1em 0'>

+Project Gutenberg&#8482; 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.

+</div>

+

+<div style='display:block; margin:1em 0'>

+Volunteers and financial support to provide volunteers with the

+assistance they need are critical to reaching Project Gutenberg&#8482;&#8217;s

+goals and ensuring that the Project Gutenberg&#8482; 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&#8482; 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.

+</div>

+

+<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>

+Section 3. Information about the Project Gutenberg Literary Archive Foundation

+</div>

+

+<div style='display:block; margin:1em 0'>

+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&#8217;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&#8217;s laws.

+</div>

+

+<div style='display:block; margin:1em 0'>

+The Foundation&#8217;s 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&#8217;s website

+and official page at www.gutenberg.org/contact

+</div>

+

+<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>

+Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

+</div>

+

+<div style='display:block; margin:1em 0'>

+Project Gutenberg&#8482; depends upon and cannot survive without widespread

+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.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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 <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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.

+</div>

+

+<div style='display:block; margin:1em 0'>

+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

+</div>

+

+<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>

+Section 5. General Information About Project Gutenberg&#8482; electronic works

+</div>

+

+<div style='display:block; margin:1em 0'>

+Professor Michael S. Hart was the originator of the Project

+Gutenberg&#8482; concept of a library of electronic works that could be

+freely shared with anyone. For forty years, he produced and

+distributed Project Gutenberg&#8482; eBooks with only a loose network of

+volunteer support.

+</div>

+

+<div style='display:block; margin:1em 0'>

+Project Gutenberg&#8482; 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.

+</div>

+

+<div style='display:block; margin:1em 0'>

+Most people start at our website which has the main PG search

+facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>.

+</div>

+

+<div style='display:block; margin:1em 0'>

+This website includes information about Project Gutenberg&#8482;,

+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.

+</div>

+

+</div>

+</body>

+</html>

diff --git a/68418-h/images/cover.jpg b/68418-h/images/cover.jpg
new file mode 100644
index 0000000..eb889a7
--- /dev/null
+++ b/68418-h/images/cover.jpg
diff --git a/68418-h/images/illus1.jpg b/68418-h/images/illus1.jpg
new file mode 100644
index 0000000..4f2fc3b
--- /dev/null
+++ b/68418-h/images/illus1.jpg
diff --git a/68418-h/images/illus2.jpg b/68418-h/images/illus2.jpg
new file mode 100644
index 0000000..12d9c26
--- /dev/null
+++ b/68418-h/images/illus2.jpg
diff --git a/68418-h/images/illus3.jpg b/68418-h/images/illus3.jpg
new file mode 100644
index 0000000..0a6f928
--- /dev/null
+++ b/68418-h/images/illus3.jpg
diff --git a/68418-h/images/illus4.jpg b/68418-h/images/illus4.jpg
new file mode 100644
index 0000000..ed03fd4
--- /dev/null
+++ b/68418-h/images/illus4.jpg
diff --git a/68418-h/images/illus5.jpg b/68418-h/images/illus5.jpg
new file mode 100644
index 0000000..9abafb9
--- /dev/null
+++ b/68418-h/images/illus5.jpg