NormalizeHEADmain

9 files changed, 17 insertions, 2452 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..d7b82bc
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,4 @@
+*.txt text eol=lf
+*.htm text eol=lf
+*.html text eol=lf
+*.md text eol=lf
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..817f462
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #68598 (https://www.gutenberg.org/ebooks/68598)
diff --git a/old/68598-0.txt b/old/68598-0.txt
deleted file mode 100644
index 455f0a9..0000000
--- a/old/68598-0.txt
+++ /dev/null
@@ -1,1142 +0,0 @@
-The Project Gutenberg eBook of The band played on, by C. Shook
-
-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: The band played on
-
-Author: C. Shook
-
-Release Date: July 24, 2022 [eBook #68598]
-
-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 THE BAND PLAYED ON ***
-
-
-
-
-
-                          THE BAND PLAYED ON
-
-                              By C. Shook
-
-           [Transcriber's Note: This etext was produced from
-                    Astonishing Stories, June 1942.
-         Extensive research did not uncover any evidence that
-         the U.S. copyright on this publication was renewed.]
-
-
-I'm playing trombone in a little five-piece combo at Benny's Bar and
-Grill when it happens. At the time we are slightly enlarged by the
-presence of four of Bill Gundry's boys who are working out at the park
-and have dropped by to sit in after they have finished, and also we
-have present Eddie Smith and Mart Allen, who are a clarinet and trumpet
-from The Pines.
-
-Benny's is the local hangout for all the musicians in town, which is
-the main reason I'm playing there; one night Whiteman himself shows,
-when his band is working a theatre job at the Palace.
-
-During the early part of the night we play our own arrangements off the
-paper, but after about one o'clock we are liable to be jamming with
-any of the boys who can find seats--like this night I'm telling you
-about.
-
-When I first notice it we are giving out on the _Jazz Me Blues_, which
-is a fine ensemble number, and we are hitting it in a fast Dixieland.
-I'm ragging the beat and I can feel the old slush pump tremble, but
-I figure it's because I'm really solid at the moment and I keep on
-sending.
-
-Well, we clean up the _Jazz Me's_ and I'm still hot so I hit right on
-the B-natural for _Stardust_, with the boys jumping in, and we take it
-slow and mellow through one chorus together. Then I stand up for a solo
-on the second, and that is when it happens.
-
-I don't know exactly what takes place, but I'm riding as I reach out
-for a high one that's really out of the world. I feel the pump tremble
-again, and then what happens is that I am really out of the world.
-
-I mean _I'm actually out of the world_!
-
-The vibrations from the trombone shoot right up my arms, and then
-my whole body is shaking. I can't stop it. The lights fade away and
-I'm trembling so I can't even hear the music ... and then I'm not
-shaking any more, but Benny's is not there or I'm not there, and it is
-daylight, which is crazy because it is only two A.M.
-
-I am still kind of weak as I look around, and then I'm weaker still.
-The least thing, I figured, was that I had had a spasm or something
-and was in a hospital and it was the next day. But when I look around
-again I know this is no hospital. I'm lying on a big flat rock and I am
-dressed just as I was at Benny's. I even have my slip-horn beside me.
-
-But the thing that gives me the jumps is the grass. It is all purple.
-And the trees and everything around have purple leaves where they
-should be green. I look at my coat. It is a light blue. My pants are
-black and my skin is white. Then I look at the grass beside me. I
-reach out and pick a handful. It is plenty purple all right. And I'm
-thinking as I look at it there in my hand that there is no place in the
-world where the trees and plants are purple. No place in the world....
-
-I know I am not asleep, but tell myself, "whenever you read about
-anything like this happening, the hero always thinks he is asleep at
-first and pinches himself to find out whether he is or not." So I reach
-over for my slush pump and give it a good blast. I hear it all right.
-Just to make sure, I do pinch myself lightly, but it is no soap. I am
-here and the grass is still purple. I get up off the rock and walk
-about.
-
-When I stand up I find that I am in a large meadow with nothing more in
-sight than the rocks here and there and a few trees. The purple grass
-is nearly knee-high. There is no sense in staying where I am, so I pick
-up my trombone and begin hiking. After I have walked a couple of miles,
-maybe, I come to a river. I am not surprised to find that the water is
-a deep yellow. Nothing will surprise me now.
-
-There must be some settlement along this river if there is anyone
-living around here, I figure, so I follow along the way the water is
-flowing. Three or four hours I tramp, and this is something I am not
-used to. My feet are getting plenty beat and I take up the old bleater
-and try _The Stars and Stripes Forever_, the only march I can think of.
-This helps me stumble along in two-four time a while, but it uses up
-what wind I have left, and pretty soon I am forced to sit down and rest.
-
-Well, I guess I doze off while I am resting, for when I come out of it
-I find myself tied up tighter than a drum, and there in front of me are
-four men or animals or something examining my trombone.
-
-"Hey," I say.
-
-At that they turn around and stare at me and I stare even harder at
-them. And then I bust out laughing. For they look like four grown up
-Donald Ducks. They have duck bills for mouths, and their feet are
-webbed, but they have arms instead of wings. Their bodies are covered
-with feathers, except for their heads which have a greenish skin and
-would almost be human if it weren't for those bills and the green color.
-
-They begin to gab among themselves and I am surprised because I am
-expecting to hear them quack like ducks. Their voices are low-pitched
-and they talk way down in their throats something like German, but
-though I don't understand it, I know it isn't. They are talking about
-me, I can tell, and finally one of them comes over and unties my feet
-and legs. But he leaves my arms fastened. He motions for me to get up.
-I do and we start down the river with one of them carrying my slip-horn
-and walking beside me, and the others floating on the water like their
-barnyard relatives. This is the way we come to their town.
-
-It is only a short distance before the river widens considerably, and
-I can see that it is dotted with little islands. The three men who are
-swimming come close to shore and they walk with the one guarding me,
-pointing out at one of the islands as they speak. I gather that they
-don't know how to take me out there. One of them gestures at the water
-and then at me, but I shake my head no. They gab some more.
-
-Finally one of them hops into the water and swims to the nearest
-island. He is back in a flash with about ten other duck men who
-immediately begin gabbing excitedly as soon as they see me. The one
-holding my trombone says something to them and they shut up and get
-back into the water. They push me to the edge of the bank and then one
-of them takes hold of my legs and pulls me into the river on his back.
-He almost sinks before the others can grab me too and help him out,
-and even at that they are as far down as low 'E on the doghouse when
-they start out for the large island almost in the center of the river.
-This must be their main village, I figure, and it turns out that I am
-right. Once we get to the village they untie my arms and hand me my
-horn. I guess they figure I can't get off the island now.
-
-       *       *       *       *       *
-
-Well, I don't know what I'm in for, but whatever it is, it is postponed
-for a while because they take me to a small hut and leave me. There is
-nothing in the hut except a pile of pale purple straw in one of the
-corners, but I don't need anything else. I am plenty weary and I flop
-on the straw and am asleep in a minute.
-
-When I awake again, it is morning. I get up and walk to the door and
-there are four or five of the duck men standing nearby. They see me
-come out and they smile, but when I start to move about, they point
-back into the hut and so I go back in and sit down. I am still sitting
-there when some others come in with some trays of food. These are a
-lot lighter green in the faces and I guess they must be the women of
-the race. They have a lot of stuff that looks like purple lettuce, and
-different vegetable-looking things on the trays, and they act as if I
-am to eat them. After I taste them they are not so bad. I even drink a
-cup of the yellow water, and it is not so bad either, only sweeter than
-I would want ordinarily.
-
-Once I have finished, I go back outside. Right in front of the door is
-the duck man which carried my slush pump on the walk yesterday, and
-when he sees me he smiles and comes over and hits me on the back with
-his hand. I do the same to him and he smiles wider. This means we are
-friends, I figure, like shaking hands, so I smile too. He motions for
-me to come with him.
-
-Some of the others come with us, and we walk all around the village
-which is not so large. My friend seems to be the head man. He walks
-with me, and the rest stay a little behind. I am being treated like I
-have the key to the city. All around are the small huts like the one I
-slept in, and there isn't much else to the town except for a couple of
-larger buildings which are made of the same purple wood that the huts
-are made of. I figure that if three people occupy each hut, there are
-maybe six hundred altogether in the town. There are some other villages
-on the islands I can see, but they are not so large.
-
-After we have toured for an hour or two, the chief takes me to one
-of the large buildings and we go inside. City hall, I think. And
-sure enough we go right to the mayor's office, which is a little
-room partitioned off from the rest. There are a couple of stools or
-something there, and the mayor hops up on one with his thin legs
-underneath him. I sit on the other. He smiles and I smile, and I think
-this is getting pretty dull and maybe it would be better if he weren't
-so friendly because anyway I would have some action. I think I will get
-away and go over and try a few numbers on the horn.
-
-Finally after we sit there smiling for some time, he points to himself.
-
-"Ogroo," he says. His name.
-
-So I hit myself on the chest and tell him my name.
-
-Then he walks around the room and points to the stools and the table
-and the walls. He says words at each one. He is trying to teach me
-their language, so I repeat each one after him. We play this little
-game for quite a while and then we have food brought in. While we are
-eating, Ogroo is telling me the name of what I am chewing on and it
-doesn't taste nearly as good as it did when I knew it was plain food
-only.
-
-When we finish eating, Ogroo gets up and takes me back to our hut. I
-am supposed to stay there, I see. Anyway I think I will get out a few
-riffs just to keep in practice, so I go inside for my slush pump. It
-isn't there.
-
-So this is why the so and so was keeping me away all the time he did, I
-say to myself. I am plenty burned up, but there is nothing I can do.
-
-When Ogroo shows up the next morning, I try to tell him about it, but
-he pretends not to understand. Instead we go through the same routine
-as the day before, only we eat in another room and he shows me some new
-words.
-
-       *       *       *       *       *
-
-Well, the horn doesn't show up and I can tell my lip is slipping out
-of shape. It is now three weeks since I got into this place and I have
-nothing different. I am able to talk to the duck men, though, and I
-will say for Ogroo that he is a good teacher since I am never more than
-a poor C in languages when I am in school.
-
-And then one day Ogroo says to me, "Mac, I am happy to tell you that we
-have located the object which you call a trombone. One of the men took
-it and has had it hidden. He feared it was a thing of evil power. I
-assured him it was not, though I was not so sure myself. I hope that I
-was correct."
-
-"Ogroo, old boy," I tell him, "the trombone is strictly a thing of
-good power as I will show you if you will produce it. It is a thing of
-music."
-
-"Why, Mac," says Ogroo, "why did you not say this before. We have music
-too. It is our great pride."
-
-       *       *       *       *       *
-
-Now during the time the mayor has been educating me, there is one of
-the large buildings which I have never been in. I have asked Ogroo
-about this and he has always said they were saving it as a surprise for
-me. But now he gets up and starts out the door.
-
-"You will know of the surprise at last," he says.
-
-And he leads me to the big barn which has always been closed.
-
-Well you can hang me for a long-hair when we get inside, for there are
-about two hundred of the duck people shuffling around like a flock
-of jitterbugs, and ten or twelve players are giving out with some
-corny rhythm on a raised platform for a bandstand. They have about
-three-fourths percussion, mostly tom-tom-like drums, but there are
-a few gut buckets of some kind which they do not appear to play for
-nothing.
-
-Ogroo looks at me.
-
-"Is it not magnificent?" he says.
-
-"Well," I say, "it is all right, but where I come from it is done in
-a slightly different manner. I shall be happy to show you if you will
-kindly produce my horn."
-
-I can hardly wait to lay my lip into a solid beat the more I listen to
-these ickies peeling it off the cob, and when one of the men finally
-brings in old Susie, I kiss her lovingly. She is in fine shape.
-
-Old Ogroo stops the noise. He makes an announcement, and everything is
-quiet as I step up with my slush pump. It is like Goodman at Carnegie
-Hall.
-
-Everybody crowds around as I give out with the _Royal Garden Blues_.
-I see I have them overcome and I begin to send softly as I hear one
-of the boys pick up the beat in the background. He is not so awful
-at that. After I have taken two choruses, one of the gut buckets has
-picked up the melody and I dub in the harmony for him. The crowd is
-beginning to sway slightly when I slide into _Rose Room_ and pretty
-soon they are on the jump until it is worse than a bunch of the
-alligators at a Krupa concert. All in all it is a very successful
-performance indeed.
-
-By the time I have finished, I see that I have first chair cinched, and
-the crowd is eating out of my hand.
-
-This is by no means the last performance I give. I soon have the duck
-men in the band playing the best jive they can give out with, but it is
-rather sorry without any reeds and only one brass. They are entirely
-unable to play any wind instruments, though, so I am forced to make the
-best of it.
-
-We play for three or four hours, and when old Ogroo and I finally leave
-the hall, I am cheered all down the line. I am really terrific.
-
-"Mac," Ogroo tells me when we are outside, "you are wonderful. We
-appreciate music and in fact it is the biggest thing in our lives here.
-But you are lucky that we are the ones that found you on your arrival
-and not the animal men from the woods. They are very ignorant, and your
-trombone would have meant nothing to them."
-
-Well, this is the first time I have heard about these animal men, and
-I figure maybe they are a little closer to civilization than Ogroo
-thinks. I ask him about them.
-
-"They are our enemies," he says, "and are much stronger than we. They
-control all the land surrounding us, but on the water we have the best
-of them and they never try to attack us here. However we must venture
-into the forests sometimes, and then we are in constant danger. Many of
-us are killed or captured each year."
-
-I think no more about this, however, and I spend my time playing for
-the concerts they have every day. I am very popular with one and
-all. But a few weeks afterwards, Ogroo asks me to join one of their
-expeditions into the forests.
-
-"We have to gather our monthly food crop," he says. "And everyone in
-the community has to do his share. As you are now one of us, it is only
-fitting that you come along."
-
-Well, of course I clap Ogroo on the back and tell him I will be very
-pleased to go, and, in fact, I am not worried much about their enemies
-because I am a good hundred pounds heavier than any of the duck men
-and I figured I will be plenty for these animal people to handle. As
-it turns out, I am right in this respect, but I hit one bad note which
-almost costs me my life and very possibly does so for my friends.
-
-There are about twenty of us that start out. Each one is carrying two
-large baskets made out of the purple reeds which grow in the swampy
-lowlands of the islands. Before we begin, I tell Ogroo that I will swim
-over if he will carry my baskets, but he does not understand what I
-mean until I dive into the river and demonstrate. This exhibition is
-a great surprise to everyone, as they have never seen anything like
-it before. When I have climbed out on the other bank, the rest of the
-party jumps in and floats over rapidly. Then we begin walking toward
-the deep purple forests.
-
-We hustle around all morning, and there is no trouble. What we are
-gathering is some kind of mushroom that grows around the foot of the
-trees, and we are looking for certain vegetables which have to have
-the shade to amount to anything. It is in the afternoon shortly before
-we are ready to depart that one of the men who is acting as a lookout
-gives the alarm. There is a group of animal men hunting in the woods
-and they have spotted us. I am curious to see how these men appear and
-I hang back some while the others run as fast as they can on their
-webbed feet toward the river; they are luckily near the water, for they
-could never outdistance these land people.
-
-Well, I know I can catch up, so, as I say, I wait a couple of seconds.
-But when I have a gander at our enemies, I am off faster than a
-sixty-fourth beat, and it is none too soon. As a matter of fact, it is
-a wonder that I am able to run at all, for what I see charging at me
-is about ten big two-headed monsters running on four legs sometimes,
-and sometimes on two. They are not quite as large as a man when they
-stand up, but they are enough to send me heading for the river. I dive
-in just before they get there and I am churning the water like the
-_Queen Mary_ when I hit the island. Then I look around to see what has
-happened. The monsters are lined up at the edge of the river watching
-us, but they do not try to cross over. They are pointing at me and
-acting excited, and Ogroo laughs.
-
-"They have never seen anything like you," he says. "But we are safe now
-for they cannot--what did you call it--swim?"
-
-I say that is very lucky indeed, as they are remarkably tough appearing
-babies, but we do not bother any more with them and pretty soon they
-have disappeared into the forests. It is over a week later that I
-realize the bad note I hit and what it is going to do to us.
-
-       *       *       *       *       *
-
-I am sitting on a rock near the island's edge this morning trying to
-work a little oil out of some plants I have found. I wish to apply some
-of this to my slip-horn, as the action is getting somewhat gummy and I
-have neglected to bring any of these necessities with me when I ride
-out of Benny's. While I am doing this, I see some of the animal men
-come out of the forest and start toward the river. This is odd since I
-am told they never do this. They do not see me so I stay where I am,
-and I see two of them talking and arguing with the others. These two
-seem to have some idea, and the rest are telling them no and shaking
-all their heads to do it. It must be a real argument, I think, with two
-mouths to speak with at the same time. I wonder if one of these animals
-could get two part harmony with a pair of trumpets, but then I recall
-that they are strictly ickies, as old Ogroo has explained to me.
-
-So I watch them some more, and pretty soon the two who are talking most
-jump right into the river and begin to throw their legs up and down and
-flail their arms, and they are soon moving across the water just as if
-they could swim. In fact they are swimming, and this excites me greatly
-since Ogroo has said they could not do this. I get up quick and begin
-to hunt Ogroo and luckily I find him right away. I tell him what is
-taking place and he is also greatly excited.
-
-"I'm afraid we have done it now, Mac," he says to me as we run back to
-where I saw the animal men. "Those creatures are highly imitative--it
-is the only way they seem to gain any new skill--and they must have
-been thinking over what they saw when they watched you swim away from
-them last week."
-
-By the time he has told me this we are back where I have left my
-trombone, and are just in time to see the last of the group jump into
-the river. They are able to make the nearest island, which has a small
-village of maybe fifty people. Well, I do not like this part of my
-story much and I will cut it short. What happens is that the animal men
-wipe out that little village in ten minutes and right before our eyes.
-The animals are extremely happy and we see them grinning with their
-ugly double faces as they return to shore.
-
-"Quick," says Ogroo, "we have only a little time. They will bring the
-rest of their tribe immediately and attack all the rest of our islands.
-We must hide."
-
-I grab my horn and we hurry to notify our own village. But we are
-stopped. There is no place to go.
-
-Then we hear the menacing roar of the animal men. As we turn, they can
-be seen jumping into the river one by one. There are hundreds of them.
-
-I turn resignedly to Ogroo. I start to tell him that we must get
-something to defend ourselves with, but the people are so paralyzed
-with fear that I know we can never do it. And then before I can say
-anything, I see the villagers coming slowly toward Ogroo and me. They
-seem very angry indeed.
-
-Ogroo speaks hurriedly. "They are after you, Mac. You're the one that
-showed the animal men how to swim and they are after you. In the state
-they are in, you will probably be killed. I'll try to reason with them,
-but it is almost certain to be useless, for they might even be after
-me. I have been your sponsor."
-
-He claps me on the back and then starts toward his people. I do not
-know what to do. I can see a detachment of the animal people not more
-than a hundred yards off shore, and the duck men are moving angrily
-toward me not much farther away. I see them push Ogroo aside as he
-begins to say something to them.
-
-I move my trombone nervously. And suddenly I see my only chance. I am
-shaking before I start, but I fit the mouth-piece to my lip and begin
-to blow. I take a fast scale and I hit the B-natural for _Stardust_ at
-least an octave higher than it was ever played before. I have got to
-ride high and fast.
-
-Well, I close my eyes and I am shaking so that I hardly notice the
-vibrations of the horn begin, but when I reach the E in the third
-measure, I know I am feeling what I felt in Benny's. So I keep pushing
-it, and the last I remember I am trying to reach the high C closing.
-
-That is when I pass out....
-
-       *       *       *       *       *
-
-When I come to this time, I am almost afraid to open my eyes. My ears
-are still buzzing, and I am just beginning to realize weakly what has
-happened when I hear voices around me which are not part of the score.
-They are speaking in English. I open my eyes then, and look around.
-
-I find that I am surrounded by a crowd of people who are saying to
-one another to give him air and to take it easy, and I perceive that
-I am on a city sidewalk, and in fact, as I look up, I see that it is
-somewhere on Fifty-Second Street. A perfect landing for a tail gate
-artist, I think as I sit up.
-
-       *       *       *       *       *
-
-When the crowd sees me do this they move in even closer, all the time
-telling one another to give me air, but finally one of them claims that
-he is a doctor and he helps me up and I go with him and another man in
-uniform who is probably a policeman. They tell me that they are taking
-me to a hospital, and I do not remember much after that. When I wake up
-again, I am in the hospital.
-
-A doctor has hold of my wrist, and when he sees me open my eyes he
-says, "How are you feeling now?"
-
-I tell him okay.
-
-"Well," he says, "you seem to have had quite a shock, and perhaps
-you do not want to discuss it now, but your manner of dress and this
-instrument which you have brought with you have excited my curiosity no
-little."
-
-I see that my trombone is on the table near him.
-
-"Why no, I do not mind telling you," I say, "though you might find it
-hard to believe what I have gone through. But first--where am I and
-what month is it?"
-
-The doctor lets go of my wrist.
-
-"You are in New York," he says, "and it is September of the year
-Twenty-five O Seven."
-
-"Just a minute," I say, "I must misunderstand you. I thought you said
-the year was Twenty-five O Seven."
-
-"That is what I did say," says the doc.
-
-"But that cannot be true," I tell him. "Why I was born in 1914 and it
-is not possible for me to be living at such a period in history."
-
-He picks up my wrist again.
-
-"You are a little excited," he says, "and I think you had better get a
-bit more rest. Then we can talk this thing over later."
-
-I see him say something to the nurse who is standing in the doorway all
-this time, and she nods as he goes out. I start to call to him but I
-figure it is no use. So I go back to sleep.
-
-The second time I wake up, the doc is back and he has four other men
-with him. They are sitting in chairs around the room watching me; as
-soon as they see I am awake they come over to my bed.
-
-"These men are very much interested in your case," the doctor tells
-me. "I have been telling them about your statement and the strange
-circumstances attending your appearance on Fifty-Second Street today.
-Now I feel that you have had enough rest and I want you to tell them
-the entire story."
-
-Well, I know they will figure I am off the beat, but I start at
-the beginning and relate the whole story anyway. They do not say a
-word until I have finished. Then they look at each other and have a
-whispered session on the other side of the room. Finally one of them
-speaks up.
-
-"Mr. McRae," he says, "we want to question you a little further if you
-don't mind. Will you please put on your clothes and come with us?"
-
-I do like they say since there is nothing else for me to do, and when
-I am dressed they take me down the hall to a big light room which is
-practically all glass, and they ask me to sit down at a large table.
-
-"Now, Mr. McRae," the first doc says, "I want you to do something for
-me."
-
-He hands me ten little blocks of different sizes and informs me that I
-am to place them in the proper holes in a board which he has ready for
-just that purpose. I do as he asks.
-
-These seems to surprise him, but he is all set with another test, and I
-spend the rest of the afternoon playing these little games, until I am
-plenty weary of it and I say so to him.
-
-"Well," he says, "as you likely know, we have been trying to determine
-your sanity. I will say that you have demonstrated yourself to be
-entirely normal."
-
-"That is fine," I say, "but now that we have decided that will someone
-kindly tell me what is this business about Twenty-Five O Seven--and
-what has been happening to me anyhow."
-
-Another of the doctors answers me.
-
-"There seems to be only one other explanation," he says, "one which we
-are reluctant to accept but which we must consider if your story is
-true. You have been in a fourth dimension. The passage of time there
-is something that we know nothing of, and it is possible that the few
-months you spent in it were equivalent to the centuries which have
-passed in this dimension. You have apparently evolved a unique and
-purely personal method for entering and leaving the fourth dimension,
-and since it seems entirely dependent on your own physical skill
-together with a large element of chance, it is of little value for
-scientific exploitation. That is the pity."
-
-While he is giving out this statement, the rest of the doctors grow
-very excited, and soon as he has finished they begin throwing questions
-at him about curvature of space and Neilson's theory and a lot of other
-stuff which is very confusing to me indeed.
-
-Finally I stop them.
-
-"If you will kindly return my trombone," I tell them, "I will be on my
-way, as I do not know anything of all this and I would like to get out
-and see what it is like in Twenty-Five O Seven A.D."
-
-"Of course, of course," says the first doctor who is the one who
-brought me to the hospital. "It is very thoughtless of us. I shall get
-your instrument and you can come home with me until you are able to
-adjust yourself to our way of living. It will be a great pleasure to
-show you what we have accomplished in the time since you can remember,
-though I must say that none of us has done what you have."
-
-He laughs a little at that, and I figure he is a nice guy, so I say I
-will be happy to accept his offer.
-
-I go home with him and he introduces me to his wife who is a very nice
-appearing female. He tells her all about me and he keeps saying how
-remarkable it is all the time.
-
-       *       *       *       *       *
-
-It is the next morning when I come down to breakfast that I meet the
-doctor's daughter, who is a very lovely little number of about twenty,
-and I see that my stay is going to be a very pleasant one indeed.
-
-She says, "Dad has been telling me all about you, Mr. McRae, and I'm
-going to see to it that you really see the New York of Twenty-Five
-O Seven. He wants to drag you to a lot of stuffy old lectures and
-scientific conventions, and exhibits you like a freak, but I'm taking
-charge today."
-
-I remark that that will be fine.
-
-Well, we start right out, and it is amazing what has been done in my
-absence. Ann--that is the little number's name--tells me about the
-change in one thing and another; they are now taking vacations on Venus
-and Mars, and it is merely a matter of a couple of hours to get to San
-Francisco or London. Of course this is all very interesting, but I am
-interested in what they are doing in the musical line. I tell Ann this.
-
-"We are in luck," she says, "for there is a concert tonight up in
-Albany and you will be able to hear all the finest music there."
-
-"I do not wish to hear the long hairs play," I tell her. "Let us go
-down along Fifty-Second Street and listen to a little barrelhouse. That
-is my racket."
-
-"There is no musical organization on Fifty-Second Street," Ann says.
-"We do all our listening and looking at concerts like this one in
-Albany, and it is the only sort of music we have."
-
-By this time we are home, so I ask Ann if she would like to hear how
-we played it back in the Twentieth Century. She replies that she
-would, but not to let her father, the doc, know about it because he
-is something of a bug on the modern music and considers the old style
-quite degenerate.
-
-I laugh at this. "What he means by the old style is probably something
-I have never heard," I say. "You must remember that I am almost six
-hundred years old, so my style is practically antique. Why, your father
-did not even know that my horn was a musical instrument until I told
-him my story, and it is indeed a shame that there are not a few old
-Beiderbecke platters around so you all could hear what you've been
-missing."
-
-Well, I have not played the old slush pump since I escaped from the
-fourth dimension, so I am careful when I pick it up, but after I have
-tried a few runs I say I am all set. Ann is very curious, and she makes
-me tell her how it works, as it seems they use instruments altogether
-different in these concerts we are going to. I explain how the wind
-goes around and all, and then I move into _I'm Getting Sentimental Over
-You_. I am very mellow, and T. Dorsey couldn't have sounded any better
-in the little concert I give. Ann is very overcome.
-
-"It is beautiful," she says when I have finished. "Are there words to
-it?"
-
-I tell her there are, but that I do not know them, so she hums softly
-as I take another chorus. She has a lovely voice, and I say that
-tomorrow I will write down the words to some other numbers and let her
-practice them with me.
-
-When the doctor hears we are going to the concert that evening, he says
-that he wishes to come along. We get to Albany in about five minutes,
-so fast that I see nothing in the journey once we have left the New
-York airport where the doc keeps his plane, and we enter the auditorium
-in perfect time. As we go in, I am very surprised to see everyone
-staring at me, since I have borrowed one of the doctor's suits for the
-occasion and look just like anyone else. And then everyone stands and
-begins cheering me until I am very embarrassed indeed. I look at Ann
-and the doctor. They are both smiling.
-
-"You know now that you have become a celebrity," whispers Ann. "We
-didn't want to let you know right away, but the papers have been full
-of your story."
-
-So I smile and bow to the crowd, which keeps on clapping. It is very
-pleasing.
-
-Finally, however, the noise stops and the curtain raises. There on the
-stage are about thirty or forty musicians, and behind them is a large
-screen like in a moving picture house. Also there are a lot of electric
-cords in sight, and I cannot figure what they are for until I notice
-that each instrument is wired like an electric guitar.
-
-When the conductor comes on, everybody claps a little more, and then
-he turns to the orchestra. What I hear after that is something I never
-expect to hear in my life. All those electric instruments begin to
-vibrate, and on the screen behind them all sorts of shapes and colors
-begin to flash and then disappear. This keeps up as long as the number
-lasts.
-
-"You are now seeing music as well as hearing it," the doctor tells me.
-
-"I never saw any like that before," I say. "All the music I've ever
-seen has been the regular dot variety; do the men play from those
-flashes?"
-
-"Why no," the doc smiles. "Those symbols that you see are the result
-of the electric impulse as the musicians strike certain notes on their
-instruments. They are never the same, and to me they are vastly
-intriguing. Strictly, it was lousy."
-
-"Oh," I say.
-
-The following day Ann informs me that we are going on a picnic and asks
-me will I please bring my trombone along and teach her a few songs.
-
-About eleven o'clock we get in Ann's plane, and in no time we are down
-in Virginia in a nice little spot by a small stream.
-
-"I often come down here," Ann says. "It is one of the best places I
-know."
-
-There is something that seems awfully strange to me, and I finally
-realize that it is the green grass of the meadow and the trees, after
-the icky purple I have been used to for the past few months. I tell Ann
-about this and about how beautiful the green looks, but I add that it
-is still not as lovely as she is.
-
-She says that is very nice, and then as I stand up from spreading the
-picnic cloth, she is standing beside me, so I put my arms around her
-and then I am kissing her and she is kissing me and it is very pleasant
-indeed. I see that this is much better than any fourth dimension.
-
-Finally we get around to eating the lunch Ann has brought, and I keep
-saying how lovely she is, which I also mean. And she is saying I am
-pretty fine too, and we pass some little time like this.
-
-But after a while Ann says, "Mac, will you play for me now? I love to
-hear you."
-
-So I say I will if she will sing and I give her the words to _The St.
-Louis Blues_, which I have written out. I hit it soft and easy for one
-chorus to give her the melody, and then she takes the beat. Well, I
-have not realized it before, but her voice is plenty schmalz and it is
-a shame she is not living in my time, for she would be a cinch to panic
-them anywhere.
-
-After that she does _The Memphis Blues_ also, and she has me riding
-beautifully to keep her up there. She is wonderful.
-
-"You are the one who is wonderful," she says. "I have never heard music
-like you can get out of that trombone. Play something else, darling,
-won't you?" I slip into _If I Could Shimmy Like My Sister Kate_, and as
-I play, Ann moves over beside me.
-
-"Lovely," she whispers.
-
-With that I am really carried away and I hear her humming softly as I
-modulate into _Tea for Two_. I am giving it a real ride, and then I
-feel it coming over me again. I am in a panic. I try to stop playing,
-but I can't, and my body is vibrating something terrible.
-
-I dimly hear Ann crying, "Mac, Mac, ..." as I sink off.
-
-That is the last I can remember....
-
-       *       *       *       *       *
-
-When I come out of it this time, someone is pounding me on the back.
-
-"Ann?" I say hopefully, but I know inside that it will be useless.
-
-"Beautiful going, Mac. Beautiful," someone is saying.
-
-"What?" I ask blankly.
-
-"That _Stardust_. Boy, you were really out of the world on that one."
-
-Then I open my eyes and look up. It is Ernie Martin, our sax player,
-who has the chair next to me in Benny's.
-
-I look around. I am back in Benny's. As I put down my slip-horn there
-is a scattering of applause from the tables.
-
-Someone shouts at me. I close my eyes, but the noise is still there. I
-keep my eyes closed, and then I hear music.
-
-Ernie is hitting me with his elbow.
-
-"Get in," he says.
-
-I hear the boys beating out _Rosetta_.
-
-"Take it up," say Ernie. "Get hep, kid."
-
-"Me?" I says sort of foggy like. "Oh, no--not me. Leastways not
-tonight."
-
-I pick up old Susie and walk to the door. I wonder if maybe there's
-such a thing as being too hep.
-
-*** END OF THE PROJECT GUTENBERG EBOOK THE BAND PLAYED ON ***
-
-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/old/68598-0.zip b/old/68598-0.zip
deleted file mode 100644
index f07c81b..0000000
--- a/old/68598-0.zip
+++ /dev/null
diff --git a/old/68598-h.zip b/old/68598-h.zip
deleted file mode 100644
index bd11fe8..0000000
--- a/old/68598-h.zip
+++ /dev/null
diff --git a/old/68598-h/68598-h.htm b/old/68598-h/68598-h.htm
deleted file mode 100644
index 8d93f31..0000000
--- a/old/68598-h/68598-h.htm
+++ /dev/null
@@ -1,1310 +0,0 @@
-<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
-    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
-  <head>
-    <meta http-equiv="Content-Type" content="text/html;charset=us-ascii" />
-    <meta http-equiv="Content-Style-Type" content="text/css" />
-    <title>
-      The Project Gutenberg eBook of The Band Played on, by C. Shook.
-    </title>
-    <link rel="coverpage" href="images/cover.jpg" />
-
-    <style type="text/css">
-
-body {
-    margin-left: 10%;
-    margin-right: 10%;
-}
-
-    h1,h2 {
-    text-align: center; /* all headings centered */
-    clear: both;
-}
-
-p {
-    margin-top: .51em;
-    text-align: justify;
-    margin-bottom: .49em;
-}
-
-hr {
-    width: 33%;
-    margin-top: 2em;
-    margin-bottom: 2em;
-    margin-left: 33.5%;
-    margin-right: 33.5%;
-    clear: both;
-}
-
-hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;}
-hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;}
-
-.center   {text-align: center;}
-
-.right   {text-align: right;}
-
-/* Images */
-.figcenter   {
-    margin: auto;
-    text-align: center;
-}
-
-div.titlepage {
-  text-align: center;
-  page-break-before: always;
-  page-break-after: always;
-}
-
-div.titlepage p {
-  text-align: center;
-  text-indent: 0em;
-  font-weight: bold;
-  line-height: 1.5;
-  margin-top: 3em;
-}
-
-
-    </style>
-  </head>
-<body>
-<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The band played on, by C. Shook</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: The band played on</p>
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: C. Shook</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Release Date: July 24, 2022 [eBook #68598]</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 THE BAND PLAYED ON ***</div>
-
-<div class="titlepage">
-
-<h1>THE BAND PLAYED ON</h1>
-
-<h2>By C. Shook</h2>
-
-<p>[Transcriber's Note: This etext was produced from<br />
-Astonishing Stories, June 1942.<br />
-Extensive research did not uncover any evidence that<br />
-the U.S. copyright on this publication was renewed.]</p>
-
-</div>
-
-<hr class="chap" />
-
-<div class="figcenter">
-  <img src="images/illus.jpg" alt=""/>
-</div>
-
-<hr class="chap" />
-
-<p>I'm playing trombone in a little five-piece combo at Benny's Bar and
-Grill when it happens. At the time we are slightly enlarged by the
-presence of four of Bill Gundry's boys who are working out at the park
-and have dropped by to sit in after they have finished, and also we
-have present Eddie Smith and Mart Allen, who are a clarinet and trumpet
-from The Pines.</p>
-
-<p>Benny's is the local hangout for all the musicians in town, which is
-the main reason I'm playing there; one night Whiteman himself shows,
-when his band is working a theatre job at the Palace.</p>
-
-<p>During the early part of the night we play our own arrangements off the
-paper, but after about one o'clock we are liable to be jamming with
-any of the boys who can find seats&mdash;like this night I'm telling you
-about.</p>
-
-<p>When I first notice it we are giving out on the <i>Jazz Me Blues</i>, which
-is a fine ensemble number, and we are hitting it in a fast Dixieland.
-I'm ragging the beat and I can feel the old slush pump tremble, but
-I figure it's because I'm really solid at the moment and I keep on
-sending.</p>
-
-<p>Well, we clean up the <i>Jazz Me's</i> and I'm still hot so I hit right on
-the B-natural for <i>Stardust</i>, with the boys jumping in, and we take it
-slow and mellow through one chorus together. Then I stand up for a solo
-on the second, and that is when it happens.</p>
-
-<p>I don't know exactly what takes place, but I'm riding as I reach out
-for a high one that's really out of the world. I feel the pump tremble
-again, and then what happens is that I am really out of the world.</p>
-
-<p>I mean <i>I'm actually out of the world</i>!</p>
-
-<p>The vibrations from the trombone shoot right up my arms, and then
-my whole body is shaking. I can't stop it. The lights fade away and
-I'm trembling so I can't even hear the music ... and then I'm not
-shaking any more, but Benny's is not there or I'm not there, and it is
-daylight, which is crazy because it is only two A.M.</p>
-
-<p>I am still kind of weak as I look around, and then I'm weaker still.
-The least thing, I figured, was that I had had a spasm or something
-and was in a hospital and it was the next day. But when I look around
-again I know this is no hospital. I'm lying on a big flat rock and I am
-dressed just as I was at Benny's. I even have my slip-horn beside me.</p>
-
-<p>But the thing that gives me the jumps is the grass. It is all purple.
-And the trees and everything around have purple leaves where they
-should be green. I look at my coat. It is a light blue. My pants are
-black and my skin is white. Then I look at the grass beside me. I
-reach out and pick a handful. It is plenty purple all right. And I'm
-thinking as I look at it there in my hand that there is no place in the
-world where the trees and plants are purple. No place in the world....</p>
-
-<p>I know I am not asleep, but tell myself, "whenever you read about
-anything like this happening, the hero always thinks he is asleep at
-first and pinches himself to find out whether he is or not." So I reach
-over for my slush pump and give it a good blast. I hear it all right.
-Just to make sure, I do pinch myself lightly, but it is no soap. I am
-here and the grass is still purple. I get up off the rock and walk
-about.</p>
-
-<p>When I stand up I find that I am in a large meadow with nothing more in
-sight than the rocks here and there and a few trees. The purple grass
-is nearly knee-high. There is no sense in staying where I am, so I pick
-up my trombone and begin hiking. After I have walked a couple of miles,
-maybe, I come to a river. I am not surprised to find that the water is
-a deep yellow. Nothing will surprise me now.</p>
-
-<p>There must be some settlement along this river if there is anyone
-living around here, I figure, so I follow along the way the water is
-flowing. Three or four hours I tramp, and this is something I am not
-used to. My feet are getting plenty beat and I take up the old bleater
-and try <i>The Stars and Stripes Forever</i>, the only march I can think of.
-This helps me stumble along in two-four time a while, but it uses up
-what wind I have left, and pretty soon I am forced to sit down and rest.</p>
-
-<p>Well, I guess I doze off while I am resting, for when I come out of it
-I find myself tied up tighter than a drum, and there in front of me are
-four men or animals or something examining my trombone.</p>
-
-<p>"Hey," I say.</p>
-
-<p>At that they turn around and stare at me and I stare even harder at
-them. And then I bust out laughing. For they look like four grown up
-Donald Ducks. They have duck bills for mouths, and their feet are
-webbed, but they have arms instead of wings. Their bodies are covered
-with feathers, except for their heads which have a greenish skin and
-would almost be human if it weren't for those bills and the green color.</p>
-
-<p>They begin to gab among themselves and I am surprised because I am
-expecting to hear them quack like ducks. Their voices are low-pitched
-and they talk way down in their throats something like German, but
-though I don't understand it, I know it isn't. They are talking about
-me, I can tell, and finally one of them comes over and unties my feet
-and legs. But he leaves my arms fastened. He motions for me to get up.
-I do and we start down the river with one of them carrying my slip-horn
-and walking beside me, and the others floating on the water like their
-barnyard relatives. This is the way we come to their town.</p>
-
-<p>It is only a short distance before the river widens considerably, and
-I can see that it is dotted with little islands. The three men who are
-swimming come close to shore and they walk with the one guarding me,
-pointing out at one of the islands as they speak. I gather that they
-don't know how to take me out there. One of them gestures at the water
-and then at me, but I shake my head no. They gab some more.</p>
-
-<p>Finally one of them hops into the water and swims to the nearest
-island. He is back in a flash with about ten other duck men who
-immediately begin gabbing excitedly as soon as they see me. The one
-holding my trombone says something to them and they shut up and get
-back into the water. They push me to the edge of the bank and then one
-of them takes hold of my legs and pulls me into the river on his back.
-He almost sinks before the others can grab me too and help him out,
-and even at that they are as far down as low 'E on the doghouse when
-they start out for the large island almost in the center of the river.
-This must be their main village, I figure, and it turns out that I am
-right. Once we get to the village they untie my arms and hand me my
-horn. I guess they figure I can't get off the island now.</p>
-
-<hr class="tb" />
-
-<p>Well, I don't know what I'm in for, but whatever it is, it is postponed
-for a while because they take me to a small hut and leave me. There is
-nothing in the hut except a pile of pale purple straw in one of the
-corners, but I don't need anything else. I am plenty weary and I flop
-on the straw and am asleep in a minute.</p>
-
-<p>When I awake again, it is morning. I get up and walk to the door and
-there are four or five of the duck men standing nearby. They see me
-come out and they smile, but when I start to move about, they point
-back into the hut and so I go back in and sit down. I am still sitting
-there when some others come in with some trays of food. These are a
-lot lighter green in the faces and I guess they must be the women of
-the race. They have a lot of stuff that looks like purple lettuce, and
-different vegetable-looking things on the trays, and they act as if I
-am to eat them. After I taste them they are not so bad. I even drink a
-cup of the yellow water, and it is not so bad either, only sweeter than
-I would want ordinarily.</p>
-
-<p>Once I have finished, I go back outside. Right in front of the door is
-the duck man which carried my slush pump on the walk yesterday, and
-when he sees me he smiles and comes over and hits me on the back with
-his hand. I do the same to him and he smiles wider. This means we are
-friends, I figure, like shaking hands, so I smile too. He motions for
-me to come with him.</p>
-
-<p>Some of the others come with us, and we walk all around the village
-which is not so large. My friend seems to be the head man. He walks
-with me, and the rest stay a little behind. I am being treated like I
-have the key to the city. All around are the small huts like the one I
-slept in, and there isn't much else to the town except for a couple of
-larger buildings which are made of the same purple wood that the huts
-are made of. I figure that if three people occupy each hut, there are
-maybe six hundred altogether in the town. There are some other villages
-on the islands I can see, but they are not so large.</p>
-
-<p>After we have toured for an hour or two, the chief takes me to one
-of the large buildings and we go inside. City hall, I think. And
-sure enough we go right to the mayor's office, which is a little
-room partitioned off from the rest. There are a couple of stools or
-something there, and the mayor hops up on one with his thin legs
-underneath him. I sit on the other. He smiles and I smile, and I think
-this is getting pretty dull and maybe it would be better if he weren't
-so friendly because anyway I would have some action. I think I will get
-away and go over and try a few numbers on the horn.</p>
-
-<p>Finally after we sit there smiling for some time, he points to himself.</p>
-
-<p>"Ogroo," he says. His name.</p>
-
-<p>So I hit myself on the chest and tell him my name.</p>
-
-<p>Then he walks around the room and points to the stools and the table
-and the walls. He says words at each one. He is trying to teach me
-their language, so I repeat each one after him. We play this little
-game for quite a while and then we have food brought in. While we are
-eating, Ogroo is telling me the name of what I am chewing on and it
-doesn't taste nearly as good as it did when I knew it was plain food
-only.</p>
-
-<p>When we finish eating, Ogroo gets up and takes me back to our hut. I
-am supposed to stay there, I see. Anyway I think I will get out a few
-riffs just to keep in practice, so I go inside for my slush pump. It
-isn't there.</p>
-
-<p>So this is why the so and so was keeping me away all the time he did, I
-say to myself. I am plenty burned up, but there is nothing I can do.</p>
-
-<p>When Ogroo shows up the next morning, I try to tell him about it, but
-he pretends not to understand. Instead we go through the same routine
-as the day before, only we eat in another room and he shows me some new
-words.</p>
-
-<hr class="tb" />
-
-<p>Well, the horn doesn't show up and I can tell my lip is slipping out
-of shape. It is now three weeks since I got into this place and I have
-nothing different. I am able to talk to the duck men, though, and I
-will say for Ogroo that he is a good teacher since I am never more than
-a poor C in languages when I am in school.</p>
-
-<p>And then one day Ogroo says to me, "Mac, I am happy to tell you that we
-have located the object which you call a trombone. One of the men took
-it and has had it hidden. He feared it was a thing of evil power. I
-assured him it was not, though I was not so sure myself. I hope that I
-was correct."</p>
-
-<p>"Ogroo, old boy," I tell him, "the trombone is strictly a thing of
-good power as I will show you if you will produce it. It is a thing of
-music."</p>
-
-<p>"Why, Mac," says Ogroo, "why did you not say this before. We have music
-too. It is our great pride."</p>
-
-<hr class="tb" />
-
-<p>Now during the time the mayor has been educating me, there is one of
-the large buildings which I have never been in. I have asked Ogroo
-about this and he has always said they were saving it as a surprise for
-me. But now he gets up and starts out the door.</p>
-
-<p>"You will know of the surprise at last," he says.</p>
-
-<p>And he leads me to the big barn which has always been closed.</p>
-
-<p>Well you can hang me for a long-hair when we get inside, for there are
-about two hundred of the duck people shuffling around like a flock
-of jitterbugs, and ten or twelve players are giving out with some
-corny rhythm on a raised platform for a bandstand. They have about
-three-fourths percussion, mostly tom-tom-like drums, but there are
-a few gut buckets of some kind which they do not appear to play for
-nothing.</p>
-
-<p>Ogroo looks at me.</p>
-
-<p>"Is it not magnificent?" he says.</p>
-
-<p>"Well," I say, "it is all right, but where I come from it is done in
-a slightly different manner. I shall be happy to show you if you will
-kindly produce my horn."</p>
-
-<p>I can hardly wait to lay my lip into a solid beat the more I listen to
-these ickies peeling it off the cob, and when one of the men finally
-brings in old Susie, I kiss her lovingly. She is in fine shape.</p>
-
-<p>Old Ogroo stops the noise. He makes an announcement, and everything is
-quiet as I step up with my slush pump. It is like Goodman at Carnegie
-Hall.</p>
-
-<p>Everybody crowds around as I give out with the <i>Royal Garden Blues</i>.
-I see I have them overcome and I begin to send softly as I hear one
-of the boys pick up the beat in the background. He is not so awful
-at that. After I have taken two choruses, one of the gut buckets has
-picked up the melody and I dub in the harmony for him. The crowd is
-beginning to sway slightly when I slide into <i>Rose Room</i> and pretty
-soon they are on the jump until it is worse than a bunch of the
-alligators at a Krupa concert. All in all it is a very successful
-performance indeed.</p>
-
-<p>By the time I have finished, I see that I have first chair cinched, and
-the crowd is eating out of my hand.</p>
-
-<p>This is by no means the last performance I give. I soon have the duck
-men in the band playing the best jive they can give out with, but it is
-rather sorry without any reeds and only one brass. They are entirely
-unable to play any wind instruments, though, so I am forced to make the
-best of it.</p>
-
-<p>We play for three or four hours, and when old Ogroo and I finally leave
-the hall, I am cheered all down the line. I am really terrific.</p>
-
-<p>"Mac," Ogroo tells me when we are outside, "you are wonderful. We
-appreciate music and in fact it is the biggest thing in our lives here.
-But you are lucky that we are the ones that found you on your arrival
-and not the animal men from the woods. They are very ignorant, and your
-trombone would have meant nothing to them."</p>
-
-<p>Well, this is the first time I have heard about these animal men, and
-I figure maybe they are a little closer to civilization than Ogroo
-thinks. I ask him about them.</p>
-
-<p>"They are our enemies," he says, "and are much stronger than we. They
-control all the land surrounding us, but on the water we have the best
-of them and they never try to attack us here. However we must venture
-into the forests sometimes, and then we are in constant danger. Many of
-us are killed or captured each year."</p>
-
-<p>I think no more about this, however, and I spend my time playing for
-the concerts they have every day. I am very popular with one and
-all. But a few weeks afterwards, Ogroo asks me to join one of their
-expeditions into the forests.</p>
-
-<p>"We have to gather our monthly food crop," he says. "And everyone in
-the community has to do his share. As you are now one of us, it is only
-fitting that you come along."</p>
-
-<p>Well, of course I clap Ogroo on the back and tell him I will be very
-pleased to go, and, in fact, I am not worried much about their enemies
-because I am a good hundred pounds heavier than any of the duck men
-and I figured I will be plenty for these animal people to handle. As
-it turns out, I am right in this respect, but I hit one bad note which
-almost costs me my life and very possibly does so for my friends.</p>
-
-<p>There are about twenty of us that start out. Each one is carrying two
-large baskets made out of the purple reeds which grow in the swampy
-lowlands of the islands. Before we begin, I tell Ogroo that I will swim
-over if he will carry my baskets, but he does not understand what I
-mean until I dive into the river and demonstrate. This exhibition is
-a great surprise to everyone, as they have never seen anything like
-it before. When I have climbed out on the other bank, the rest of the
-party jumps in and floats over rapidly. Then we begin walking toward
-the deep purple forests.</p>
-
-<p>We hustle around all morning, and there is no trouble. What we are
-gathering is some kind of mushroom that grows around the foot of the
-trees, and we are looking for certain vegetables which have to have
-the shade to amount to anything. It is in the afternoon shortly before
-we are ready to depart that one of the men who is acting as a lookout
-gives the alarm. There is a group of animal men hunting in the woods
-and they have spotted us. I am curious to see how these men appear and
-I hang back some while the others run as fast as they can on their
-webbed feet toward the river; they are luckily near the water, for they
-could never outdistance these land people.</p>
-
-<p>Well, I know I can catch up, so, as I say, I wait a couple of seconds.
-But when I have a gander at our enemies, I am off faster than a
-sixty-fourth beat, and it is none too soon. As a matter of fact, it is
-a wonder that I am able to run at all, for what I see charging at me
-is about ten big two-headed monsters running on four legs sometimes,
-and sometimes on two. They are not quite as large as a man when they
-stand up, but they are enough to send me heading for the river. I dive
-in just before they get there and I am churning the water like the
-<i>Queen Mary</i> when I hit the island. Then I look around to see what has
-happened. The monsters are lined up at the edge of the river watching
-us, but they do not try to cross over. They are pointing at me and
-acting excited, and Ogroo laughs.</p>
-
-<p>"They have never seen anything like you," he says. "But we are safe now
-for they cannot&mdash;what did you call it&mdash;swim?"</p>
-
-<p>I say that is very lucky indeed, as they are remarkably tough appearing
-babies, but we do not bother any more with them and pretty soon they
-have disappeared into the forests. It is over a week later that I
-realize the bad note I hit and what it is going to do to us.</p>
-
-<hr class="tb" />
-
-<p>I am sitting on a rock near the island's edge this morning trying to
-work a little oil out of some plants I have found. I wish to apply some
-of this to my slip-horn, as the action is getting somewhat gummy and I
-have neglected to bring any of these necessities with me when I ride
-out of Benny's. While I am doing this, I see some of the animal men
-come out of the forest and start toward the river. This is odd since I
-am told they never do this. They do not see me so I stay where I am,
-and I see two of them talking and arguing with the others. These two
-seem to have some idea, and the rest are telling them no and shaking
-all their heads to do it. It must be a real argument, I think, with two
-mouths to speak with at the same time. I wonder if one of these animals
-could get two part harmony with a pair of trumpets, but then I recall
-that they are strictly ickies, as old Ogroo has explained to me.</p>
-
-<p>So I watch them some more, and pretty soon the two who are talking most
-jump right into the river and begin to throw their legs up and down and
-flail their arms, and they are soon moving across the water just as if
-they could swim. In fact they are swimming, and this excites me greatly
-since Ogroo has said they could not do this. I get up quick and begin
-to hunt Ogroo and luckily I find him right away. I tell him what is
-taking place and he is also greatly excited.</p>
-
-<p>"I'm afraid we have done it now, Mac," he says to me as we run back to
-where I saw the animal men. "Those creatures are highly imitative&mdash;it
-is the only way they seem to gain any new skill&mdash;and they must have
-been thinking over what they saw when they watched you swim away from
-them last week."</p>
-
-<p>By the time he has told me this we are back where I have left my
-trombone, and are just in time to see the last of the group jump into
-the river. They are able to make the nearest island, which has a small
-village of maybe fifty people. Well, I do not like this part of my
-story much and I will cut it short. What happens is that the animal men
-wipe out that little village in ten minutes and right before our eyes.
-The animals are extremely happy and we see them grinning with their
-ugly double faces as they return to shore.</p>
-
-<p>"Quick," says Ogroo, "we have only a little time. They will bring the
-rest of their tribe immediately and attack all the rest of our islands.
-We must hide."</p>
-
-<p>I grab my horn and we hurry to notify our own village. But we are
-stopped. There is no place to go.</p>
-
-<p>Then we hear the menacing roar of the animal men. As we turn, they can
-be seen jumping into the river one by one. There are hundreds of them.</p>
-
-<p>I turn resignedly to Ogroo. I start to tell him that we must get
-something to defend ourselves with, but the people are so paralyzed
-with fear that I know we can never do it. And then before I can say
-anything, I see the villagers coming slowly toward Ogroo and me. They
-seem very angry indeed.</p>
-
-<p>Ogroo speaks hurriedly. "They are after you, Mac. You're the one that
-showed the animal men how to swim and they are after you. In the state
-they are in, you will probably be killed. I'll try to reason with them,
-but it is almost certain to be useless, for they might even be after
-me. I have been your sponsor."</p>
-
-<p>He claps me on the back and then starts toward his people. I do not
-know what to do. I can see a detachment of the animal people not more
-than a hundred yards off shore, and the duck men are moving angrily
-toward me not much farther away. I see them push Ogroo aside as he
-begins to say something to them.</p>
-
-<p>I move my trombone nervously. And suddenly I see my only chance. I am
-shaking before I start, but I fit the mouth-piece to my lip and begin
-to blow. I take a fast scale and I hit the B-natural for <i>Stardust</i> at
-least an octave higher than it was ever played before. I have got to
-ride high and fast.</p>
-
-<p>Well, I close my eyes and I am shaking so that I hardly notice the
-vibrations of the horn begin, but when I reach the E in the third
-measure, I know I am feeling what I felt in Benny's. So I keep pushing
-it, and the last I remember I am trying to reach the high C closing.</p>
-
-<p>That is when I pass out....</p>
-
-<hr class="tb" />
-
-<p>When I come to this time, I am almost afraid to open my eyes. My ears
-are still buzzing, and I am just beginning to realize weakly what has
-happened when I hear voices around me which are not part of the score.
-They are speaking in English. I open my eyes then, and look around.</p>
-
-<p>I find that I am surrounded by a crowd of people who are saying to
-one another to give him air and to take it easy, and I perceive that
-I am on a city sidewalk, and in fact, as I look up, I see that it is
-somewhere on Fifty-Second Street. A perfect landing for a tail gate
-artist, I think as I sit up.</p>
-
-<hr class="tb" />
-
-<p>When the crowd sees me do this they move in even closer, all the time
-telling one another to give me air, but finally one of them claims that
-he is a doctor and he helps me up and I go with him and another man in
-uniform who is probably a policeman. They tell me that they are taking
-me to a hospital, and I do not remember much after that. When I wake up
-again, I am in the hospital.</p>
-
-<p>A doctor has hold of my wrist, and when he sees me open my eyes he
-says, "How are you feeling now?"</p>
-
-<p>I tell him okay.</p>
-
-<p>"Well," he says, "you seem to have had quite a shock, and perhaps
-you do not want to discuss it now, but your manner of dress and this
-instrument which you have brought with you have excited my curiosity no
-little."</p>
-
-<p>I see that my trombone is on the table near him.</p>
-
-<p>"Why no, I do not mind telling you," I say, "though you might find it
-hard to believe what I have gone through. But first&mdash;where am I and
-what month is it?"</p>
-
-<p>The doctor lets go of my wrist.</p>
-
-<p>"You are in New York," he says, "and it is September of the year
-Twenty-five O Seven."</p>
-
-<p>"Just a minute," I say, "I must misunderstand you. I thought you said
-the year was Twenty-five O Seven."</p>
-
-<p>"That is what I did say," says the doc.</p>
-
-<p>"But that cannot be true," I tell him. "Why I was born in 1914 and it
-is not possible for me to be living at such a period in history."</p>
-
-<p>He picks up my wrist again.</p>
-
-<p>"You are a little excited," he says, "and I think you had better get a
-bit more rest. Then we can talk this thing over later."</p>
-
-<p>I see him say something to the nurse who is standing in the doorway all
-this time, and she nods as he goes out. I start to call to him but I
-figure it is no use. So I go back to sleep.</p>
-
-<p>The second time I wake up, the doc is back and he has four other men
-with him. They are sitting in chairs around the room watching me; as
-soon as they see I am awake they come over to my bed.</p>
-
-<p>"These men are very much interested in your case," the doctor tells
-me. "I have been telling them about your statement and the strange
-circumstances attending your appearance on Fifty-Second Street today.
-Now I feel that you have had enough rest and I want you to tell them
-the entire story."</p>
-
-<p>Well, I know they will figure I am off the beat, but I start at
-the beginning and relate the whole story anyway. They do not say a
-word until I have finished. Then they look at each other and have a
-whispered session on the other side of the room. Finally one of them
-speaks up.</p>
-
-<p>"Mr. McRae," he says, "we want to question you a little further if you
-don't mind. Will you please put on your clothes and come with us?"</p>
-
-<p>I do like they say since there is nothing else for me to do, and when
-I am dressed they take me down the hall to a big light room which is
-practically all glass, and they ask me to sit down at a large table.</p>
-
-<p>"Now, Mr. McRae," the first doc says, "I want you to do something for
-me."</p>
-
-<p>He hands me ten little blocks of different sizes and informs me that I
-am to place them in the proper holes in a board which he has ready for
-just that purpose. I do as he asks.</p>
-
-<p>These seems to surprise him, but he is all set with another test, and I
-spend the rest of the afternoon playing these little games, until I am
-plenty weary of it and I say so to him.</p>
-
-<p>"Well," he says, "as you likely know, we have been trying to determine
-your sanity. I will say that you have demonstrated yourself to be
-entirely normal."</p>
-
-<p>"That is fine," I say, "but now that we have decided that will someone
-kindly tell me what is this business about Twenty-Five O Seven&mdash;and
-what has been happening to me anyhow."</p>
-
-<p>Another of the doctors answers me.</p>
-
-<p>"There seems to be only one other explanation," he says, "one which we
-are reluctant to accept but which we must consider if your story is
-true. You have been in a fourth dimension. The passage of time there
-is something that we know nothing of, and it is possible that the few
-months you spent in it were equivalent to the centuries which have
-passed in this dimension. You have apparently evolved a unique and
-purely personal method for entering and leaving the fourth dimension,
-and since it seems entirely dependent on your own physical skill
-together with a large element of chance, it is of little value for
-scientific exploitation. That is the pity."</p>
-
-<p>While he is giving out this statement, the rest of the doctors grow
-very excited, and soon as he has finished they begin throwing questions
-at him about curvature of space and Neilson's theory and a lot of other
-stuff which is very confusing to me indeed.</p>
-
-<p>Finally I stop them.</p>
-
-<p>"If you will kindly return my trombone," I tell them, "I will be on my
-way, as I do not know anything of all this and I would like to get out
-and see what it is like in Twenty-Five O Seven A.D."</p>
-
-<p>"Of course, of course," says the first doctor who is the one who
-brought me to the hospital. "It is very thoughtless of us. I shall get
-your instrument and you can come home with me until you are able to
-adjust yourself to our way of living. It will be a great pleasure to
-show you what we have accomplished in the time since you can remember,
-though I must say that none of us has done what you have."</p>
-
-<p>He laughs a little at that, and I figure he is a nice guy, so I say I
-will be happy to accept his offer.</p>
-
-<p>I go home with him and he introduces me to his wife who is a very nice
-appearing female. He tells her all about me and he keeps saying how
-remarkable it is all the time.</p>
-
-<hr class="tb" />
-
-<p>It is the next morning when I come down to breakfast that I meet the
-doctor's daughter, who is a very lovely little number of about twenty,
-and I see that my stay is going to be a very pleasant one indeed.</p>
-
-<p>She says, "Dad has been telling me all about you, Mr. McRae, and I'm
-going to see to it that you really see the New York of Twenty-Five
-O Seven. He wants to drag you to a lot of stuffy old lectures and
-scientific conventions, and exhibits you like a freak, but I'm taking
-charge today."</p>
-
-<p>I remark that that will be fine.</p>
-
-<p>Well, we start right out, and it is amazing what has been done in my
-absence. Ann&mdash;that is the little number's name&mdash;tells me about the
-change in one thing and another; they are now taking vacations on Venus
-and Mars, and it is merely a matter of a couple of hours to get to San
-Francisco or London. Of course this is all very interesting, but I am
-interested in what they are doing in the musical line. I tell Ann this.</p>
-
-<p>"We are in luck," she says, "for there is a concert tonight up in
-Albany and you will be able to hear all the finest music there."</p>
-
-<p>"I do not wish to hear the long hairs play," I tell her. "Let us go
-down along Fifty-Second Street and listen to a little barrelhouse. That
-is my racket."</p>
-
-<p>"There is no musical organization on Fifty-Second Street," Ann says.
-"We do all our listening and looking at concerts like this one in
-Albany, and it is the only sort of music we have."</p>
-
-<p>By this time we are home, so I ask Ann if she would like to hear how
-we played it back in the Twentieth Century. She replies that she
-would, but not to let her father, the doc, know about it because he
-is something of a bug on the modern music and considers the old style
-quite degenerate.</p>
-
-<p>I laugh at this. "What he means by the old style is probably something
-I have never heard," I say. "You must remember that I am almost six
-hundred years old, so my style is practically antique. Why, your father
-did not even know that my horn was a musical instrument until I told
-him my story, and it is indeed a shame that there are not a few old
-Beiderbecke platters around so you all could hear what you've been
-missing."</p>
-
-<p>Well, I have not played the old slush pump since I escaped from the
-fourth dimension, so I am careful when I pick it up, but after I have
-tried a few runs I say I am all set. Ann is very curious, and she makes
-me tell her how it works, as it seems they use instruments altogether
-different in these concerts we are going to. I explain how the wind
-goes around and all, and then I move into <i>I'm Getting Sentimental Over
-You</i>. I am very mellow, and T. Dorsey couldn't have sounded any better
-in the little concert I give. Ann is very overcome.</p>
-
-<p>"It is beautiful," she says when I have finished. "Are there words to
-it?"</p>
-
-<p>I tell her there are, but that I do not know them, so she hums softly
-as I take another chorus. She has a lovely voice, and I say that
-tomorrow I will write down the words to some other numbers and let her
-practice them with me.</p>
-
-<p>When the doctor hears we are going to the concert that evening, he says
-that he wishes to come along. We get to Albany in about five minutes,
-so fast that I see nothing in the journey once we have left the New
-York airport where the doc keeps his plane, and we enter the auditorium
-in perfect time. As we go in, I am very surprised to see everyone
-staring at me, since I have borrowed one of the doctor's suits for the
-occasion and look just like anyone else. And then everyone stands and
-begins cheering me until I am very embarrassed indeed. I look at Ann
-and the doctor. They are both smiling.</p>
-
-<p>"You know now that you have become a celebrity," whispers Ann. "We
-didn't want to let you know right away, but the papers have been full
-of your story."</p>
-
-<p>So I smile and bow to the crowd, which keeps on clapping. It is very
-pleasing.</p>
-
-<p>Finally, however, the noise stops and the curtain raises. There on the
-stage are about thirty or forty musicians, and behind them is a large
-screen like in a moving picture house. Also there are a lot of electric
-cords in sight, and I cannot figure what they are for until I notice
-that each instrument is wired like an electric guitar.</p>
-
-<p>When the conductor comes on, everybody claps a little more, and then
-he turns to the orchestra. What I hear after that is something I never
-expect to hear in my life. All those electric instruments begin to
-vibrate, and on the screen behind them all sorts of shapes and colors
-begin to flash and then disappear. This keeps up as long as the number
-lasts.</p>
-
-<p>"You are now seeing music as well as hearing it," the doctor tells me.</p>
-
-<p>"I never saw any like that before," I say. "All the music I've ever
-seen has been the regular dot variety; do the men play from those
-flashes?"</p>
-
-<p>"Why no," the doc smiles. "Those symbols that you see are the result
-of the electric impulse as the musicians strike certain notes on their
-instruments. They are never the same, and to me they are vastly
-intriguing. Strictly, it was lousy."</p>
-
-<p>"Oh," I say.</p>
-
-<p>The following day Ann informs me that we are going on a picnic and asks
-me will I please bring my trombone along and teach her a few songs.</p>
-
-<p>About eleven o'clock we get in Ann's plane, and in no time we are down
-in Virginia in a nice little spot by a small stream.</p>
-
-<p>"I often come down here," Ann says. "It is one of the best places I
-know."</p>
-
-<p>There is something that seems awfully strange to me, and I finally
-realize that it is the green grass of the meadow and the trees, after
-the icky purple I have been used to for the past few months. I tell Ann
-about this and about how beautiful the green looks, but I add that it
-is still not as lovely as she is.</p>
-
-<p>She says that is very nice, and then as I stand up from spreading the
-picnic cloth, she is standing beside me, so I put my arms around her
-and then I am kissing her and she is kissing me and it is very pleasant
-indeed. I see that this is much better than any fourth dimension.</p>
-
-<p>Finally we get around to eating the lunch Ann has brought, and I keep
-saying how lovely she is, which I also mean. And she is saying I am
-pretty fine too, and we pass some little time like this.</p>
-
-<p>But after a while Ann says, "Mac, will you play for me now? I love to
-hear you."</p>
-
-<p>So I say I will if she will sing and I give her the words to <i>The St.
-Louis Blues</i>, which I have written out. I hit it soft and easy for one
-chorus to give her the melody, and then she takes the beat. Well, I
-have not realized it before, but her voice is plenty schmalz and it is
-a shame she is not living in my time, for she would be a cinch to panic
-them anywhere.</p>
-
-<p>After that she does <i>The Memphis Blues</i> also, and she has me riding
-beautifully to keep her up there. She is wonderful.</p>
-
-<p>"You are the one who is wonderful," she says. "I have never heard music
-like you can get out of that trombone. Play something else, darling,
-won't you?" I slip into <i>If I Could Shimmy Like My Sister Kate</i>, and as
-I play, Ann moves over beside me.</p>
-
-<p>"Lovely," she whispers.</p>
-
-<p>With that I am really carried away and I hear her humming softly as I
-modulate into <i>Tea for Two</i>. I am giving it a real ride, and then I
-feel it coming over me again. I am in a panic. I try to stop playing,
-but I can't, and my body is vibrating something terrible.</p>
-
-<p>I dimly hear Ann crying, "Mac, Mac, ..." as I sink off.</p>
-
-<p>That is the last I can remember....</p>
-
-<hr class="tb" />
-
-<p>When I come out of it this time, someone is pounding me on the back.</p>
-
-<p>"Ann?" I say hopefully, but I know inside that it will be useless.</p>
-
-<p>"Beautiful going, Mac. Beautiful," someone is saying.</p>
-
-<p>"What?" I ask blankly.</p>
-
-<p>"That <i>Stardust</i>. Boy, you were really out of the world on that one."</p>
-
-<p>Then I open my eyes and look up. It is Ernie Martin, our sax player,
-who has the chair next to me in Benny's.</p>
-
-<p>I look around. I am back in Benny's. As I put down my slip-horn there
-is a scattering of applause from the tables.</p>
-
-<p>Someone shouts at me. I close my eyes, but the noise is still there. I
-keep my eyes closed, and then I hear music.</p>
-
-<p>Ernie is hitting me with his elbow.</p>
-
-<p>"Get in," he says.</p>
-
-<p>I hear the boys beating out <i>Rosetta</i>.</p>
-
-<p>"Take it up," say Ernie. "Get hep, kid."</p>
-
-<p>"Me?" I says sort of foggy like. "Oh, no&mdash;not me. Leastways not
-tonight."</p>
-
-<p>I pick up old Susie and walk to the door. I wonder if maybe there's
-such a thing as being too hep.</p>
-
-<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE BAND PLAYED ON ***</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/old/68598-h/images/cover.jpg b/old/68598-h/images/cover.jpg
deleted file mode 100644
index 2c89c73..0000000
--- a/old/68598-h/images/cover.jpg
+++ /dev/null
diff --git a/old/68598-h/images/illus.jpg b/old/68598-h/images/illus.jpg
deleted file mode 100644
index 37ee902..0000000
--- a/old/68598-h/images/illus.jpg
+++ /dev/null